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PRACTICAL USE 


«f 

RAW MATERIALS 


BEAUTY PARLOR 



*7 

J. SCHANZENBACH 





































PRACTICAL USE 

of 

RAW MATERIALS 

in the 

BEAUTY PARLOR 


By 

j: §CHANZENBACH 

V . 


A hand-book of suggestions 
and formulae for the hair¬ 
dresser and beauty culturist 



Price $2,75 net 

‘W 

J. SCHANZENBACH & Co., INC. 
New York 

c c irZ-Hn 


Cj2) 


% 


Copyright, J924 
by 

J. SCHANZENBACH &. Co., InC. 


All Rights Reserved 



Printed in the United States of America 

APR - 7 ‘24 

©Cl A 778749 



I N the past few years, or since the close of the World 
War, Beauty Culture has been, and still is, passing 
through a period of remarkable growth and develop¬ 
ment which has lifted it from comparative obscurity and 
has placed it almost on the level with the professions. 
This advance has been so sudden that those best quali¬ 
fied to speak or write with authority on subjects of 
interest to the Beauty Culturist have been too busy 
supplying the material needs of the thousands of new 
parlors, which have sprung up like mushrooms over¬ 
night, to be able to contribute their knowledge also. 
To be sure many manufacturers and schools have pub¬ 
lished booklets about their own products or methods, 
but, to the best of my knowledge, there has as yet 
appeared nothing in the way of a general treatise on 
raw materials and the methods of using them in the 
beauty parlor. It is this deficiency which, to the best 
of my ability, I have endeavored to supply with this 
little hand-book. Although my research has carried 
me into many fields and I have been obliged to draw 
upon a great mass of scientific data, I have tried to 
reduce it all to the compact limits of a hand-book, at 
the same time avoiding so far as possible all technical 
terms and long-winded discussions. 

In acknowledging my great debt to my friends 
among the practical beauty eulturists for their waluable 
suggestions, incorporated in this volume, I wish to state 
that any suggestions, corrections or constructive criti¬ 
cism from readers will be more than welcome. I realize 


that a pioneer work of this kind is particularly subject 
to errors and omissions, and any contributions from 
the practical workers will not only be of service to me 
in the preparation of subsequent editions, but will 
help to advance beauty culture in general by increas¬ 
ing the data available regarding raw materials. 

Let me add just this word: although it may contain 
frequent references to disease, this work does not pretend 
to be, in any sense, a medical text-book. My advice to 
the operator is this: Where actual diseased conditions 
of the scalp or skin exist, do not attempt to treat same 
but send your customer to her family physician or to a 
recognized specialist in such diseases. This will avoid 
any possible unpleasant occurences, 

J. SCHANZENBACH 


New York City 
January 1st, 1924. 


CONTENTS 


PART I 

PAGE 

Chapter I. — Shampoo Soaps ..-.—*. 7 

Chapter II. — Vegetable Hair Coloring Packs . 13 

Chapter III.—Hair Coloring Rinses . 22 

Chapter IV. — Bleaches .. 27 

Chapter V. — Dyes -----. - -. 33 

Chapter VI. — Miscellaneous .. 40 

Chapter VII. — The Scalp and Hair . .-. 57 

Chapter VIII. — The Skin .- 53 

Chapter IX. — The Manicure .. 70 

Chapter X. — “Ozon” Products .. 73 

Chapter XI. — Annex — Sattlers Products .— 30 

PART II 

Formulae ....-. - . ^3 

PART III 

Index ...-.-----. 444 















PRACTICAL USE OF 


Many things have to be taken into consideration besides 
the condition of the hair itself such as outside tempera¬ 
ture, humidity, the season of the year, etc. The most 
the condition of the hair itself, such as outside tempera- 
is the right kind of soap. 

CASTILE SOAP 

Our American soap industry has completed an 
extensive study of soap and is to-day in a position to 
imitate any of the various foreign makes. The soap- 
makers of Spain, Italy and even Greece are, nevertheless, 
still many centuries ahead of us. In those countries 
secret formulae are jealously guarded and are handed 
down in the same family from generation to generation. 
The excellence of the product is attested by the world¬ 
wide popularity of many well-known brands. The name 
“Castile” is taken from the name of the province in 
Spain where this kind of soap was first produced cen¬ 
turies ago. To-day the best castile soap still comes from 
Spain, partly because the industry is older there and 
partly because that country produces a vast quantity of 
olives of the finest grade, from which the soap is made. 

For shampooing nothing better has yet been found 
than Spanish Castile Soap and warm water. This 
shampoo is very easily prepared: just cut the bar of 
soap in small pieces or grate it and dissolve in warm 
water or boil slightly. Stir up from time to time, adding 
more warm water until you have a clear solution. Less 
than a pound of this soap is enough for more than a 
gallon of the best liquid shampoo. A really good castile 
soap does not jelly and leaves only a little sediment, 
if any at all. The cutting into small pieces of a hard, 
well-seasoned and dry bar of castile soap requires quite 
a little strength. Of course, when you buy in bars you 
are sure that you are getting pure and unadulterated 
material. You can, however, obtain castile soap ready 
grated or granulated from any reliable importer or 
dealer and thereby save yourself the labor of cutting 
or grating the original bars. For your own protection 
you should always buy Spanish Castile Soap by weight 
and not by the bar or cake. The best test of the purity 
of an imported castile soap is to taste same with the tip 


RAW MATERIALS 


9 


of the tongue. If the soap does not contain any free 
alkali, it will not bite the tongue but will have only a 
mild, clean, soapy taste. Because of its purity and 
soothing properties, Spanish Castile soap is not only 
the best for shampooing but is also an excellent general 
toilet and bath soap, particularly adaptable for use on 
the delicate skin of babies or small children or on chapped 
or tender skin. The complete absence of any free alkali 
in this soap makes it an excellent thing to use in launder¬ 
ing fine silks, laces or other delicate fabrics, to be used 
with lukewarm water. 

WHITE NEUTRAL POWDERED SOAP 

One of the best of all shampoos is powdered castile 
soap or any white neutral powdered soap sold as such. 
This kind of soap is also an important ingredient in a 
great many toilet preparations. The quality of such 
preparations, whether shampoos, dentifrices, shaving 
soaps or bath powders, depends in large measure upon 
the purity of this basic raw material. The “SISCONY” 
brand, sold by my firm,, contains by actual analysis a 
pure soap content of over 97%, the difference of 3% 
being composedof a smallamount of glycerine,moisture, etc 
As an ordinary, every-day shampoo, I do not recom¬ 
mend this soap, since it is very expensive. It does 
undoubtedly possess exceptional cleansing power and 
should always be used, as an addition to your regular 
shampoo, whenever you encounter a very oily head. 
By using the soap in this way, you avoid the necessity 
of shampooing three or four times in order to dissolve 
the dandruff and cut the grease, thereby working the 
hair unnecessarily and irritating the scalp nerves. For 
the formulae in which this soap is used I refer you to 
the second half of this book. As to physical properties, 
White Neutral Powdered Soap “SISCONY” is snow 
white, free from soapy flavor, non-irritating and neutral; 
that is, it contains no free alkali. It does not harden with 
age or become rancid and yields a rich and lasting lather. 
It is, therefore, especially adapted for use in the manu¬ 
facture of dentifrices, shampoos, shaving creams and 
many other toilet preparations where superior quality 
is desired. 


10 PRACTICAL USE OF 

SISCONY COCO-CASTILE SOAP 

This exceptionally mild and pure soap has been 
produced by expert soap-makers in response to a repeated 
demand from the consuming trade for a domestic soap 
of the castile variety. It is cut in four-ounce pieces, 
or four cakes to the pound. One or two of these cakes 
dissolved in warm water, according to the strength de¬ 
sired, makes almost a gallon of excellent liquid shampoo. 
The soap itself is made from castile-olive oil and high 
grade Cochin cocoanut oil. Some manufacturers of 
similar soaps make a practice of using artificially 
bleached cocoanut oil in their process of manufacture. 
This invariably causes an excess of acidity in the finished 
product together with a large amount of sediment, re¬ 
sulting from the precipitation of impurities and alkalis. 

TINCTURE OF GREEN (Liniment) SOAP U. S. P. 

(Note: The letters “U. S. P.” stand for “United 
States Pharnacopeia, ” a book of standards comprising 
all products used in pharmacal formulae and prescribing 
standard test and full description of all important 
medicinal substances. The letters U. S. P. on any 
product are a guarantee of quality, since the law requires 
them to measure up to a certain standard.) This soap, 
as its name implies, is a medicinal soap used very widely 
in hospitals and sick rooms. It is a disinfectant used 
externally for skin and scalp diseases and is applied 
by rubbing and massaging once or twice a day. There 
are many other uses, which, however, do not enter the 
field of beauty culture. 

TAR SHAMPOO BASE 
COCOANUT OIL SHAMPOO BASE 
GREEN OLIVE SHAMPOO BASE 

I am combining these three grades under one head¬ 
ing, because they really belong to one family. They 
are cousins and differ only as the names indicate. No 
good soap paste should contain an excess of moisture, 
which usually appears in the form of soapy water on 
top of the paste, nor should it contain the -least bit of 
free alkali. The consistency should be that of a semi-soft 


RAW MATERIALS 


11 


cold cream. Expressed in terms of percentages, a 65% 
soap base is equivalent to 35% of anhydrous soap, or 
soap from which all water and accidental impurities 
have been extracted. Soft soap bases, if made from pure 
unbleached oils, such as coeoanut, olive and palm oils, 
will not dry out the oil glands of the scalp or irritate 
them into abnormal activity, but will thoroughly cleanse 
both these glands and the hair. If, on the other hand, 
heavier vegetable oils such as castor oil or non-vegetable 
oils such as mineral oil, crude oil or residual greases 
are used to make the base, an excessive amount of alkali 
and water is required for saponification and the resulting 
finished product, although it may be good for washing 
floors, walls automobiles, etc., is frequently unsuitable 
for washing the hands, much less for use on the sensitive 
human head. Since shampoo soap is one of the important 
items in beauty culture, my advice is to be most careful 
to select a good soap, whether in paste (base) form or 
in cakes or bars. As a matter of fact, it is always ad¬ 
visable to have on hand at least two grades for everyday 
use, since the shade of hair and the condition of the 
scalp varies with almost every customer. A coeoanut 
soap base is much richer and milder than the olive, while 
the tar base is a beneficial all-around soap, intended 
rather for use in the shop of distinction, which is alive 
to the mionetery advantage to be derived from catering 
to the tastes of an exclusive and exacting clientele. 

The directions for preparing the liquid shampoo 
from the base are very simple. Just take about one 
pound of any of the three bases mentioned above, pour 
about one gallon of warm water over it and allow it to 
dissolve fully. If more than one gallon of shampoo is 
needed for the day’s supply, simply make a proportion¬ 
ate increase in the above amounts, using two pounds of 
base to two gallons of water, three pounds of base to 
three gallons of water and so on. If pure soap is used, 
it will not be necessary to boil the shampoo. The best 
time to prepare the shampoo is in the evening before 
closing the shop. This gives the soap overnight to 
dissolve, and the next morning, after a little stirring, it 
can be filled in regular shampoo containers ready for use. 


12 


PRACTICAL USE OF 


Do not expose the prepared shampoo to strong sunlight, 
since this is likely to produce chemical reactions which 
will deteriorate the mixture. If so. desired, the shampoo 
may be warmed up a little before it is used on the cus¬ 
tomer, or in the cold season the amount of soap base may 
be doubled and warm water added immediately before 
shampooing. Be very careful never to use too much 
soap, since the result will be harmful just as an overdose 
of medicine is harmful. Too strong a shampoo, or one 
prepared with an inferior soap, will cause the hair to 
dry up and, eventually, to fall out; dandruff will be 
caused and the fat glands of the scalp will work over¬ 
time causing headaches and itches. Furthermore, the 
hands of the operator will become chapped and red, 
especially in cold weather. Shampoos should of course 
always be prepared with soft water. If you cannot 
obtain same in your neighborhood, I suggest the use of 
OZON water softener, described elsewhere in this book. 
Soap bases are usually packed in tins, pails, tubs, kegs 
or barrels and these containers should always be kept 
tightly closed to insure proper consistency, cleanliness 
and high quality. 

In cold weather, due to climatic changes affecting 
the vegetable oils contained in these bases, a chemical 
reaction sometimes takes place in the soap. This change 
is noticeable when shampoo is prepared with very cold 
base which has been kept for some time in a cold place, 
such as a basement or store-room. Such a shampoo might 
leave a certain amount of sediment sticking to the hair 
after it has been shampooed and rinsed. Although entirely 
harmless, this sediment is unsightly and can be avoided, 
in the first place, by using base of a moderate temperature 
when preparing the shampoo, and secondly by rinsing 
repeatedly and very thoroughly with warm water. An¬ 
other good remedy is to add to the shampoo, when 
preparing, about one ounce of sal-soda to one gallon of 
liquid. This will supply a harmless saponifying agent 
to offset the changes due to the cold. These changes are 
due to the well-known fact that nearly all vegetable oils 
stiffen when cold, some, such as coooanut oil even be¬ 
coming entirely solid. 


RAW MATERIALS 


13 


Many shop-owners have found a profitable source 
of income in the sale of their own liquid shampoos in 
bottles of various sizes with an inexpensive label. Regu¬ 
lar shampoo solution may be used to fill the bottles, or 
the mixture may be made stronger and directions for 
use given on the label. These prepared shampoos may 
also be perfumed with a few drops of any of the perfume 
oils described elsewhere in this voluume. The retail 
price of an article of this kind, when compared with the 
very low cost of the raw materials used, makes it possible 
to obtain from this source more than sufficient revenue 
to pay for all of the soap used in your parlor. Further¬ 
more, your trade will appreciate being supplied with 
a shampoo of known excellence for family use. 

Chapter II. 

VEGETABLE HAIR COLORING PACKS 
GENERAL 

The dyeing of hair in all shades by the use of vege¬ 
table products only, is a problem which has not yet been 
fully solved. It is, however, in process of solution and 
the sucess of vegetable packs for many of the more usual 
shades is an accomplished fact. The use of inorganic 
chemicals or coal-tar dyes for hair-coloring purposes 
has done much harm in the form of blisters, swellings 
and entire loss of hair, while many serious catastrophies, 
such as blindness, loss of hearing and eczema have been 
traced directly to the use of harmful chemicals by an 
unskilled or unscrupulous operator. Hair dyeing is, 
in reality, a study in itself, and it is greatly complicated 
for the hairdresser by the extremely complex nature of 
feminine physiology. A woman, more than a man, is 
affected at various times by natural conditions which 
reflect directly upon the state of the blood and indirectly 
upon the scalp and hair. At such times the use of chemi¬ 
cals in hair dyeing is very dangerous and should be 
avoided. 

By the term “hair dyeing” is usually understood 
the use of chemicals in one form or another to shade 
down the color or give to grey or white hair its original 


14 


PRACTICAL USE OF 


color. This is a mechanico-chemical process. 4 he 
natural process has not yet been able to copy 
it entirely. In grey or white hair the pigment (coloring 
matter) has been reduced or eliminated by age or other 
conditions such as mental shock or disease. The human 
body has certain glands whose function it is to supply 
this pigment, and it is the gradual deterioration of these 
glands from the causes listed above which reduces the 
pigment and leaves the hair grey or white. Light shades 
of hair require less pigment production and in conse¬ 
quence show less tendency to greyness. Undoubtedly 
Science will sooner or later discover a drug or compound 
which, when taken internally in the form of tablets or 
injections, will nourish or stimulate the pigment glands 
and in this way prevent the hair from fading or restore 
color to grey hair. 

Having outlined some of the difficulties to be over¬ 
come in the field of hair dyeing as well as the dangers 
which lurk in the use of chemical dyes, let us now proceed 
to a discussion of the various vegetable packs. These 
packs are made from the powdered leaves, shells, barks, 
or roots of various plants and depend for their coloring 
principle upon the natural coloring matter contained in 
those plants which may be compared to the chlorophyll 
or green coloring matter found in ordinary grass or tree 
leaves. Mankind began to acquire his knowledge of 
vegetable colors many ages ago and many a savage damsel 
undoubtedly used these same colors for her primitive 
beauty culture which are used to-day. As evidence of 
this we have the survival of tatooing among the savage 
races of the South Seas. It is also a recorded fact that 
the Persians, Egyptians and other ancient peoples were 
using stains derived from plants to color the hair, face, 
nails and soles of the feet at the very dawn of history 
more than eight thousand years ago. Among the color¬ 
bearing plants we have first and foremost Egyptian 
Henna Leaves, then Indigo Leaves, Walnut Shells, Sumac 
Leaves, Nutgalls from Persia and China, Chamomile 
Flowers and Sage Leaves. Others we find among fluid 
extracts from roots and woods such as Catechu and 
Logwood. Many others might be mentioned, which, 


RAW MATERIALS 


15 


however, do not enter into consideration so far as Beauty 
Culture is concerned. 

HENNA LEAVES 

First of all let us consider the most important, 
Henna Leaves. During my many years of experience 
I have seen whole henna leaves (not powdered) imported 
from Algeria (Africa), Tunis (Africa), Egypt, Syria, 
Persia and Mesopotamia. Many of these shipments 
contain an almost incredible amount of impurities in the 
form of Senna Leaves (a cheap leaf used principally 
as a laxative), pieces of wood, grass, earth, peanut shells 
and even human skeletons. Many importers are more 
interested in quantity than quality and mill these leaves 
just as they come from abroad. They are thus enabled to 
sell their product at a very low price but the quality is 
naturally poor and the ultimate consumer, unaware of 
the facts, wonders why the color will not come out when 
this henna is applied to the hair or why it requires more 
than an hour to develop only a slight tint. Henna 
leaves should be carefully selected before milling. The 
leaf only contains the rich auburn coloring matter for 
the hair. This same pigment will stain the skin and nails 
a deep orange-red. The use of pure henna leaves will 
not in the slightest degree impair the natural waviness 
or silky texture of the hair. The following is the general 
procedure for the powdered henna pack: Shampoo the 
'hair thoroughly with a good lathering of castile soap, 
Coco-Castile soap or with a shampoo prepared from one 
of the soap bases. If the hair is very greasy, it is ad¬ 
visable to add a small quantity of Sal Soda or Borax to 
your shampoo in order to ‘ ‘ cut, ’ ’ that is to say neutralize 
and dissolve the grease. After rinsing thoroughly with 
clean, warm water, dry the hair partially either with 
towels or with an electric dryer. To prepare the henna 
paste use one part of Egyptian Henna Powder of the 
best quality (such as the well-known SISCONY brand) 
and two parts of hot water. For mixing it is preferable 
to use a non-metallic saucer or vessel stirring well until 
the paste is about the consistency of heavy cream. Never 
boil the paste but apply it as hot as possible with a small 


16 


PRACTICAL USE OF 


brush. Divide the hair into strands. Starting with the 
crown of the head, roll each strand to the scalp and cover 
it completely and tightly with the warm paste. Continue 
this operation until the entire head is worked and cov¬ 
ered. The head, with the paste applied should then be 
covered with a towel or with cotton until the coloring 
operation, which requires from fifteen minutes to an hour 
depending upon the shade desired, is completed. Fine 
hair takes the color more quickly and easily than coarse 
hair. Very grey hair also requires the pack to be left 
on for a longer period. On a very hot and humid summer 
day the color takes quicker effect than on a cold, dry 
day. The shade finally resulting depends in large meas¬ 
ure upon the original shade of the hair. Dark hair takes 
more time than light hair. “Try-outs” on combings 
should always be made where any particular shade 
is desired. After the coloring operation, first rinse 
off the paste with clean, warm water and then shampoo 
in the regular manner, adding to your shampoo water 
a little bit of French developer and washing the hair 
for about one minute. This “develops” or brings 
out the color immediately and your customer does not 
have to wait three or four days as heretofore in order 
to see the results of the treatment. The hair grows about 
one inch every two months, and this new growth has to 
be touched up from time to time. This touching up at 
the roots has to be done with great care in order not 
to make the rest of the hair turn too dark. With regard 
to the application of the whole henna leaves, I refer yon 
to the next chapter on Rinses, 

HENNA “SIS” 

The above is a trade name for a typical “fire-red” 
henna, which was produced in response to a demand for 
a vegetable henna powder (not a dye) which would 
bring out a distinct red tint as distinguished from the 
usual auburn shade. This Henna “SIS” contains other 
materials which subdue the auburn color and bring out 
and develop a bright red shade. Of course any imitation 
of the real, natural, red hair is difficult to obtain without 
the use of chemical dyes, but Henna “SIS” gives the 


RAW MATERIALS 


17 


nearest approach to it. The application of this pack is 
the same as that of the Egyptian Henna Powder, since 
the base of all vegetable packs is henna. The intensity 
of the red shade obtained with this pack may be increased 
by preparing it with a mixture of half vinegar and half 
water instead of plain water, or by adding a few drops 
of acetic acid (glaciate) to the water. 

BLACKENNA 

This is a product similar to the HENNA SIS, having 
as its base Egyptian henna powder. The only difference 
is that the coloring action is reversed. BLACKENNA 
contains another product which subdues any light shades 
and is, therefore, especially adapted for dark and black 
hair. It is a “black henna” which converts the grey or 
white hair into the dark natural shade of the rest of the 
hair. Having a vegetable base, it is entirely harmless 
and is not to be confused with the various henna dyes on 
the market. The manner of application is the same as 
for Egyptian henna powder as outlined in previous pages. 
When the hair is stubborn and will not take the color 
readily, the operation should be repeated. Before apply¬ 
ing the Blackenna pack for the second time, however, 
I suggest that you first rinse the hair with a five to ten 
per cent solution of tannin (tannic acid) ; that is about 
one ounce to one pint of water. This will act as a harm¬ 
less mordant and will not only hasten the coloring action 
but make the resulting shade faster. The effect of 
BLACKENNA should be taken into consideration before 
using same, since it gives a slight reddish tinge to the 
hair. A blue-black or jet-black shade may be obtained 
by using Indigo Leaves Powdered as described under 
that heading. 

SUMAC LEAVES, POWDERED 
WALNUT POWDER (Chestnut Brown ) 

NUT GALLS POWDER (Dark Brown ) 

Sumac leaves contain a large percentage of natural 
gallic and tannic acids, which are essential to any natural 
dyeing process. Both of these acids are used in their 
chemical form principally in the tanning and dyeing of 


18 


PRACTICAL USE OF 


leather. A combination of sumac leaves and henna leaves 
in powdered form with walnut powder or nutgalls 
powder, which contains the coloring matter, bring out 
in the hair the shades indicated above; namely chestnut 
brown and dark brown respectively. Any virgin hair 
(that is, hair which has not been previously treated with 
chemicals) shows the best results. Since these packs 
are compounded from pure vegetable products, they may 
be freely used without the slightest fear of the harmful 
effects which so frequently follow the application of 
chemical dyes. Before applying these vegetable packs 
to a head of hair which has been previously treated with 
chemicals, I suggest that the hair be restored to its healthy 
state by a series of hot oil and massage treatments over 
a period of two to three weeks. Formulae for such hot 
oil treatments will be found in,another part of this book. 

The general procedure for applying the walnut or 
nutgalls hair packs is the same as that already described 
for Egyptian henna powder. The customary proportions 
are the following: 

WALNUT PACK (Chestnut Brown) 

1 Part Egyptian Henna Powder 
1 Part Sumac Leaves Powdered 
1 Part Walnut Shells Powdered 

NUTGALLS PACK (Dark Brown) 

1 Part Egyptian Henna Powder 
1 Part Sumac Leaves Powdered 
1 Part Nutgalls Powder 

The principle involved in the above formulae is this: 
Henna is the base and sumac is used to tone down and 
develop the color supplied by the walnut or nutgalls 
powder. It is only necessary to apply common sense to 
obtain desired variations in shade, such as light or dark 
chestnut brown, etc. One must also consider the texture 
of the hair, whether fine or coarse and whether or not 
it has been previously treated. In short, the proportions 
given above are not absolutely fixed but are intended 
merely as a guide or for the average case. When the 
color is to be brought out more intensely or brightly or 


RAW MATERIALS 


19 


when the hair is coarse, more of the coloring principle 
(walnut or nut galls) should be used. On the other for 
virgin hair, hair of fine texture or hair that is only 
slightly grey, less of the walnut or nutgalls should be 
used with the sumac and henna. Some friends of mine 
in the profession have obtained excellent results by in¬ 
creasing the proportion of sumac and using less henna, 
thereby decreasing the chances of obtaining the auburn 
tint so characteristic of the henna. A little practice on 
these vegetable packs will make any intelligent operator 
an expert in a very short time. 

The above paragraphs have given suggestions for 
vegetable packs covering practically all shades from drab 
to dark brown. How to obtain the genuine blue-black 
or jet-black color by the use of vegetable products only, 
has been the problem before the profession for centuries. 
During my research work and special study in the field 
of hair coloring, covering a period of many years, my 
attention was drawn especially to Persian Indigo Leaves. 
Frequent reference is made to this herb, as well as to 
henna, in many ancient Egyptian, Persian, Syrian and 
Indian writings, showing that a knowledge of their 
peculiar properties dates from those remote times. Even 
to-day these- races are noted for hair of a particularly 
deep and lustrous black shade, whose natural beauty is 
frequently enhanced by culture with Indigo Leaves and 
Henna. The shade thus produced has not yet been suc¬ 
cessfully imitated by any purely chemical process. The 
whole secret of sucess lies in getting the pure, original 
Indigo Leaves as grown in the province of Kerman in 
Persia at an elevation of almost 6,000 feet above sea level. 
The particular soil and climate found at that altitude, 
as well as the process of cultivation applied by the 
natives, seem to give the only product satisfactory for 
this kind of work. There is an Indigo Herb, so called, 
which grows wild in this country in the state of Virginia, 
but it has none of the coloring properties of the foreign 
plant, as many tedious experiments, both of a technical 
and practical nature, have demonstrated. The best re¬ 
sults to date have been obtained along the lines of the 
following procedure: 


20 practical use of 

DIRECTIONS FOR A JET BLACK 
VEGETABLE COLOR 

There are two distinct operations. First, apply the 
Egyptian Henna Pack, following directions as outlined 
under that heading. After rinsing off the Egyptian 
Henna at the end of the first operation, do not shampoo 
but make sure that the head is entirely clear of the 
henna. Then proceed with the second operation, making 
a paste with Indigo Leaves Powder instead of henna but 
otherwise following the first operation in every detail. 
The warm Indigo paste, however, should be left on the 
hair for at least one hour. After rinsing, shampooing 
and drying, the hair should show at first a black color 
of a greenish tint which quickly turns to a deep blue- 
black shade. A little French Developer in the shampoo 
greatly expedites the natural coloring process. A simpler 
method can be worked out by mixing the Indigo Powder 
and Henna Powder in equal parts and applying in a 
single operation in a manner similar to the Walnut, 
Nutgalls and Sumac packs. I do not, however, recom¬ 
mend this latter method in this particular case, since 
the results are likely to be less satisfactory than those 
given by the two-operation method as set forth above. 

WHITE HENNA (So called) BLEACH PACK 

“White Henna” is a popular name for a harmless, 
antiseptic chemical, used in connection with peroxide of 
hydrogen as a bleaching agent for live human hair. 
There are numerous advantages in using white henna 
in preference to the old-fashioned plain or concentrated 
(17/18 vol.) peroxide with a little ammonia. In the 
first place, many of your customers no doubt object to 
the Peroxide Bleach for the very valid reason that it 
tends to make the hair brittle, hard and straw-like. 
Peroxide, used alone, takes away too much of the natural 
oil of the hair and scalp. The acid of the peroxide eats 
away the outer, horny covering of the hair and thus 
weakens its resistance and reduces its flexibility. 
“White Henna” eliminates to some extent this harmful 
eflV t of the peroxide and ammonia. Furthermore, where 
the “White Henna” Bleach pack is used, the customer 


RAW MATERIALS 


21 


is usually willing to pay more for the treatment because 
tne results are actually better and also because she is 
frequently under the impression that no peroxide is used 
at all. ‘‘White Henna 77 is applied in paste form and 
will lighten the hair to natural drab or golden shades 
within fifteen or twenty minutes. The outstanding ad¬ 
vantage in using this bleach, lies in the fact that the hair 
is bleached only where you actually apply the paste. 
For this reason, nothing better has been found for 
‘ 4 touching up 7 7 at the roots where new hair of the natural 
shade has grown out. There will be no mi sectors or over¬ 
bleached spots and ends but one uniform shade. Any 
part of the hair may be bleached without affecting the 
rest, since there is no running of the bleach, as in the 
case of peroxide, which so frequently causes yellow 
streaks or spots in the hands of an unskilled operator. 
The directions for using 44 White Henna 7 ’ are very simple. 
It is not necessary to shampoo before using. The paste 
should be prepared immediately before using, since it 
will lose its strength if allowed to stand very long. Pour 
a quantity of the 4 4 White Henna” powder into a bowl 
or saucer (non-metallic) and add enough highly concen¬ 
trated peroxide of hydrogen (17/18 vol.) to make a paste. 
If peroxide of ordinary strength is used, the bleaching 
action will not be as effective, and besides this weaker 
peroxide reacts much more slowly than the concentrated 
material and consequently has to remain on the hair for 
a longer period to get the results. This is of course harm¬ 
ful. To obtain a still quicker action of the paste upon 
the hair, it is advisable at times to add from ten to 
twenty-five drops of double strength ammonia (28°), 
especially when the peroxide has become a little weak. 
Apply the paste to the roots, or wherever required, with 
a small brush. Let it dry on the hair from five to fifteen 
minutes according to the shade desired. The longer the 
paste is left on the lighter the hair will be. Then rinse 
or shampoo thoroughly. If the hair is very dark, a 
second application should be made after ten or fifteen 
minutes, a fresh paste being prepared for the purpose. 
After drying the hair well, it is a good policy always 
to use a little light brilliantine, rubbed between the 


22 


practical use of 


palms of the hands and applied gently to the scalp and 
bleached hair. This will counteract any possible bad 
effects and will restore to the hair its natural gloss and 
fluffiness and will make it easier to dress. In general 
I recommend the use of the above method for all bleach¬ 
ing, since it has all of the advantages and none of the 
disadvantages of the ‘‘Peroxide Bleach.” 


Chapter III. 

HAIR COLORING RINSES 


GENERAL 

Next to hair dyeing with vegetable packs, the rinses 
are the most important items in the higher culture of 
the hair. They are differentiated from the packs and 
from one another according to the varying purposes 
for which they are employed. One preserves the deli¬ 
cate, golden tints of blond hair, another accentuates the 
titian shade and a third enhances the beauty of the darker 
shades of brown and black. 

GERMAN CHAMOMILE FLOWERS 
Chamomile tea has long been familiar to the public as 
a homemade medicine, taken internally for colds and 
nsed externally in poultices or compresses. It contains 
a bitter gum, which is very beneficial to the respiratory 
organs, as well as an oil of remarkable soothing and 
healing properties. At the moment, however we are 
more concerned with the manifold benefits to be derived 
from the use of chamomile on the hair of the blond or 
fair type. Too much cannot be said in favor of German 
Chamomile Flowers as a rinse for light hair in the form 
of a strong tea. This tea, beside preserving and accen¬ 
tuating the blond tints, also gives enough nourishment 
to the scalp and flexibility of texture to the hair itself 
to be appreciated by all who have tried this rinse and 
know its many advantages. From the shop-owner’s point 
of view, another advantage of German Chamomile lies 
in the fact that it can be easily made into a variety of 
products which can be filled into bottles or jars and sold 


RAW MATERIALS 


23 


in the shop at a very good profit; for example: Concen¬ 
trated Chamomile Rinse, Chamomile Hair Tonic, Chamo¬ 
mile Bleach, Chamomile Shampoo, Chamomile Skin As¬ 
tringent, and Chamomile Creams for various uses. 
Formulae for many of the above will be found in the 
second part of this book. 

The following are the directions for preparing the 
Chamomile Rinse for use in your shop: Take about one 
ounce of the Chamomile Flowers, either loose or, better 
still, packed in a small, cloth bag about the size and style 
of those used for packing the well-known “Bull Durham” 
brand of tobacco. Boil this quantity for about fifteen 
minutes in a quart of water, allow the tea to cool until 
lukewarm and strain through a cloth if the small bag 
has not been used. You are then ready to apply the 
rinse. To apply, first shampoo the head as usual and 
rinse with warm water. Then pour the warm tea over 
the hair, at the same time massaging the scalp lightly, 
so that the full benefits of the chamomile will be thor¬ 
oughly worked into the hair. No water rinse after the 
operation is necessary unless the tea was too strong and 
the odor of chamomile left behind too intense as a result. 
A slight chamomile odor is not unpleasant, and the 
wholesome, herb-like aroma is preferred by many to 
perfume. After the rinse, the hair should be dried as 
usual with towels or drier. The continued use of this 
rinse will very soon show its beneficial nature, and the 
hair so treated will inevitably acquire added brightness 
and fluffiness. A few of my friends in the profession 
have found it of advantage to use the Chamomile Rinse 
after bleaching with Peroxide of Hydrogen and Am¬ 
monia or with the White Henna Pack unless the hair 
was originally too dark or too coarse for this treatment 
to be of any help. This is simply another of those cases 
where the resourcefulness of the operator will enable 
her to find many opportunities to suggest to her clients 
things which will benefit, not only the customer herself 
but the cash register as well. It is these little things 
which frequently mean the difference between success and 
failure in the Hairdressing Profession. 


24 


PRACTICAL USE OF 


EGYPTIAN HENNA LEA VES { Whole) 

The origin, history, quality, etc. of Egyptian Henna 
leaves have all been given full treatment in the portion 
of this book devoted to Hair Coloring Packs. Suffice it 
to say here that many customers object to the pack for 
one reason or another, and prefer to obtain the henna 
tint through rinsing. This is especially true of those 
whose hair is naturally of an auburn shade. As a matter 
of fact, the titian tint shows up much better from the 
continued use of the rinse made form the whole henna 
leaves than it does from a single application, of the pack 
made from the powdered leaves, though the process is 
naturally much slower, and not to be used for the cus¬ 
tomer who wants to see results “in a hurry.” Never 
attempt to make the henna rinse from the powdered 
leaves on the same principle that you would not use 
powdered chamomile flowers or put ordinary beverage 
tea through a coffee mill. The results will never be as 
good as those obtained from a tea made from the whole 
leaf, on account of the very nature of the coloring prin¬ 
ciple involved. To prepare the henna tea, take about 
one pound of whole henna leaves and boil from twenty- 
five to thirty minutes in one to one and one half gallons 
of water. Always see that the leaves are entirely free 
from stems or other impurities, which may seriously 
impair the shade you are seeking. Let the tea cool 
sufficiently and strain it ready for use. (Note: Henna 
leaves are also put up in small bags like chamomile, and, 
if these bags are used, the amount of water should be 
proportionately decreased, and no straining is required.) 
Apply the henna tea in the same way as described for 
chamomile, preceding the rinse with a shampoo. The 
henna tea, however should never be rinsed off. After 
drying, the hair should be vigorously brushed with a 
long-bristled brush until the bright titian-red tint 
appears. 

SAGE LEAVES (Rinse for dark Hair tint) 

Among the ancient Greeks and Romans hair tonics 
made form sage leaves were well known and almost 
universally used. To-day, after many centuries, such 


RAW MATERIALS 


25 


tonics continue to enjoy a well-deserved popularity. 
When used regularly, Sage Tea gives a brilliant, dark 
glow to the hair and is also used to remove undesirable 
kinks. It is used on dark heads in the same way as 
chamomile is used for the blonde or henna leaves for 
the titian. The utmost care should be used in purchasing 
sage leaves, since only the grade grown in Dalmatia gives 
satisfactory results, and there are many inferior grades 
and imitations on the market. The use of sage as a spice 
in cookery is too well known to require further comment. 
It is also used in medicine in the preparation of anti¬ 
septic mouth washes for throat diseases. It contains 
principally a bitter essence, gallic and tannic acids, and 
a dark, greenish oil, which turns black when exposed to 
the air. Sage is used in a variety of preparations, such 
as ointments for removing kinks from the hair of colored 
people, hair growers, etc. When used regularly and 
always of the same strength, sage tea covers the early 
grey hair and tends to prevent hair from becoming pre¬ 
maturely grey. The sage Rinse is easily prepared by 
taking about half a pound of stemless, Dalmatian Sage 
Leaves and boiling for thirty or forty minutes in a 
gallon of water. The application is the same as outlined 
above for Chamomile and whole Henna Leaves. After 
drying the hair, a small amount of the best grade of 
mineral oil (preferably the Russian) or else of high- 
grade petrolatum (vaseline) should be rubbed into the 
hair and scalp. Do not fail to brush the hair thoroughly 
after this operation, as this will assure the satisfaction 
of your customer. 

Before leaving the subject of vegetable rinses, I 
should like to say that there is, at the present time, 
entirely too little knowledge of the truly marvelous 
results to be obtained from a regular application of such 
rinses, and their use is consequently restricted. The 
profession is gradually awakening, however, to a reali¬ 
zation of the facts in the case, and is turning more and 
more to the use of these simple and wholesome products 
of Nature and away from the patent hair tonics and 
preparations, made as a rule from chemicals, flavoring 
extracts, coal-tar colors and alcohol, which frequently 


26 


practical use of 


dry up the scalp and injure the hair instead of producing 
the miraculous results claimed for them by their manu¬ 
facturers. The profession of Beauty Culture is following 
the modern trend of the times by getting “back to 
nature,” and both the profession and its patrons will 
surely profit thereby. 

ESSENCE OF LEMON (Lemon Rinse) 

Lemons have long been known to possess a remarkable 
astringent quality. When taken into the mouth, lemon 
juice not only reacts on the nerves of taste to produce 
a sensation of tart flavor, but its astringent power also 
comes into play as is evidenced by the “puckery sen¬ 
sation on the lips and tongue. It is this same astringent 
quality which makes the Lemon Rinse such a valuable 
aid in beauty culture as an astringent for weak hair of 
any shade or tint. It stimulates the head nerves and the 
innumerable little ducts and glands which are found 
in the scalp. A Lemon Rinse after a shampoo, whether 
in warm or cold water, will invariably earn the apprecia¬ 
tion of your customer. Until recently, only the fresh 
lemon fruit was used in preparation of this rinse, but 
this method was found to have so many disadvantages 
that comparatively few shops carried the Lemon Rinse 
on their regular price lists. In the first place, the lemon 
juice would not stay fresh and had to be prepared in 
every case immediately before using. This required 
much of the operator’s valuable time, as the fruit had 
to be squeezed by hand and the seeds and pulp removed. 
Furthermore, the rinse, when prepared in this way was 
too expensive. To overcome these drawbacks, my firm 
has placed on the market a product known as Essence 
of Lemon, manufactured from a base of pure, concen¬ 
trated oils extracted from selected Sicilian lemons, and 
free from any impurities or harmful ingredients. 
Essence of Lemon keeps fresh indefinitely, and one 
tablespoonful of it added to a gallon of cold boiled water 
gives you a splendid Lemon Rinse all ready for use. 
This solution may either be added to your shampoo at 
once or used as a rinse after the hair has been cleaned 
of soap and grease. The effects of such a rinse are de- 


RAW MATERIALS 


27 


lightful, and, once your customers have tried it, they will 
be sure to ask for it again and it will surprise you to 
learn what a profitable item such a little thing can be. 
A small sign in your booth, calling your customers ’ atten¬ 
tion to the fact that you give the Lemon Rinse, will 
facilitate the securing of the first order, and the ‘ 4 repeat 
business” will come of its own accord. 


Chapter IV. 

BLEACHES 

GENERAL 

Some time ago an article appeared in the public 
press, which I am taking the liberty of quoting in part 
as follows: 

“An entirely unlooked-for calamity is about 
to descend over this country and cast a deep, dark 
gloom over our light-hearted optimism and cheerful 
contentedness. It has been announced from a seem¬ 
ingly authoritative source that we are running out 
of blondes. The matter has even been menioned in 
Washington and it is serious. Every year there are 
fewer natural blondes in this country. We believe 
the blondes have added more to the spirit of gaiety 
in this country than any other class of girl. They 
have been the subject of song and story and ribald 
jest. They have lured the sables, diamond necklaces 
and limousines from the tired business man and 
they have made a success of many an otherwise 
dismal musical show. How the blondes have livened 
up the divorce cases! Many dark and solemn court¬ 
rooms have been lighted up by the presence of these 
dizzy beauties and many a stem judge has taken a 
second look. The number of juries that have been 
vamped would be startling if it were known. At 
one time, several years ago there was an actual per¬ 
oxide peril. Many ladies, who were never blondes 
before, joined this happy, irresponsible throng. Now, 
all is different. Some believe this is entirely due to 
the immigration question. For many years we have 


28 


practical use of 


been importing five times as many brunettes as 
blondes. The great tide of immigration has come 
from Southern Europe. The Germans, Scandanavi- 
ans, Slavs and other blond races have not been com¬ 
ing here like they used to. In a few years blondes 
may be wiped out altogether. Washington says it 
is a situation that the country must meet with the 
fortitude it has exhibited in every serious crisis of 
the past. The perspective may not be quite so 
glaringly picturesque as in the past, although there 
are some who say that the brunettes, etc, have been 
known to kick up quite a bit of excitement during 
the world’s history.” 

The above, in spite of its light and amusing treat¬ 
ment of the subject, should, nevertheless, give my friends 
and readers some food for thought. The writer has, at 
any rate, hit upon one great truth, and that is this: 
whether justifiably or not, blonde hair has become associa¬ 
ted in the public mind, and miore particularly in the 
feminine portion of it, with physical attractiveness in 
general. Otherwise, why should any woman wish to 
change the natural color of her hair to a blonde shade ? 
and there is no question of the fact that many of them 
do. They do not. however, want to look like ordinary 
“Peroxide Blondes” and it is here that the technique 
of the hair dresser and the skill of the chemist come upon 
the scene. 

PEROXIDE OF HYDROGEN 

The first question which naturally arises is: What 
is Peroxide anyway and where does it come from? Per¬ 
oxide of Hydrogen (Latin: Hydrogenium peroxydatum ; 
Chemical Formula: II 2 0 2 ) is a colorless, heavy gas, ap¬ 
pearing, for ordinary uses, in an aqueous solution, which 
should always be kept in a cool, dark place to prevent 
decomposition. The pure gas is soluble in water, alcohol 
and ether. The commercial solution usually contains 
a little aeetanilid. added in order to preserve the peroxide 
solution. Inferior solutions frequently contain ifree 
sulphuric or oxalic acid or various barium salts, all of 
which are harmful to the human scalp. The following 


RAW MATERIALS 


29 


are the usual strengths in which Peroxide of Hydrogen 
solution is sold: 

Ordinary U. S. P. 

Solution: 3% by weight equivalent to 10% by vcl. 

4% “ “ “ ‘ 14/15% “ “ 

Best for Hair 


Bleaching: 5% “ 

“ 

“ 

“ 17/18% “ 


6% “ 

“ 

“ 

20% “ 


9% “ 

“ 

“ 

“ 30% “ 


15% “ 

“ 

« 

“ 50% “ 


Patented Process: 30% “ 

“ 

“ 

“ 100% “ 



Some of the above strengths are not manufactured 
in this country. The first two grades are usually em¬ 
ployed for bleaching dead hair (Chinese, etc.), due to 
their cheapness and to the large and unavoidable waste 
of material in this process. A really conscientious hair¬ 
dresser should, however, always employ the third grade 
mentioned for use in bleaching hair on the head. Never 
attempt to use a stronger grade, since the acidity will be 
too high, and the horny protective coating of each hair 
will be in danger of being entirely destroyed. Never let 
an unscrupulous salesman tell you differently in an 
attempt to sell you an inferior product which has been 
adulterated or otherwise manipulated. In case of any 
doubt, use a good quicksilver hydrometer in order to test 
the percentage of peroxide. The uses of peroxide are 
widely diversified. It is employed for bleaching textiles, 
ostrich plumes, ivory, straw bones and sponges; for re¬ 
storing old paintings; in connection with parapheny- 
lenediamine for dyeing furs; in medicine as an antiseptic, 
deodorant and styptic for skin diseases; in dentistry for 
bleaching teeth and so on. In the cosmetic field it is also 
used very frequently. In beauty culture, besides its well 
known use as a bleach, peroxide is also used, in connec¬ 
tion with aqua ammonia, as an oxidizing agent in many 
patent chemical hair dyes. I consider as unfair the prac¬ 
tice of certain houses in selling to the profession under 
a fancy trade name a peroxide of unknown and unspeci 
fied strength, depending upon the gullibility of many 
users to “get away with it,” Success in the use of per 
oxide depends not only upon pure material of the proper 
strength, but in an even larger measure upon the skill 









30 


PRACTICAL USE OF 


and experience of the operator. The directions for ap¬ 
plying peroxide are simple enough, but it requires intel¬ 
ligence and constant practice to be able to produce a 
complete range of shades from the lightest blonde to the 
drab. First shampoo and dry the hair. This may be 
unnecessary where the hair is perfectly clean. Then 
pour a small portion of 17/18 vol. peroxide into a glass 
or porcelain saucer. Part the hair and apply the per¬ 
oxide with a small (tooth) brush or absorbent cotton to 
the roots, or any other part of the hair that you may 
wish to bleach. Never use too much peroxide and avoid 
letting it run towards the ends of the hair. In case the 
hair seems to resist the action of the peroxide, add to the 
solution a few drops of double strength ammonia. This 
will hasten the bleaching action. Do not use too much 
ammonia as it is not good for the hair and tends to pro¬ 
duce a straw shade or even a reddish straw shade, the 
abhorred ‘‘Peroxide Blonde” color. The very moment 
you have obtained the desired shade, stop the application 
of the bleach immediately and rinse the head with warm 
water. Peroxide is a great germ killer and antiseptic, 
but it also unfortunately tends to absorb the natural 
oil of the hair. It is therefore always advisable, after 
bleaching, to replace this oil by rubbing into the hair 
and scalp a little good brilliantine, made from pure min¬ 
eral oil or else a little petrolatum (vaseline). If the 
hair is very dry by nature, use a little olive oil which 
not only counteracts this condition but tends to cure it 
permanently by nourishing the small glands at the hair 
roots. 

We come now to other kinds of bleaches the proper 
use of which depends upon a knowledge of the construc¬ 
tion of the hair as well as of chemistry. You doubtless 
know that the hair is made up of certain chemical sub¬ 
stances supplied by the blood through the proper glands, 
and, like all other parts of the body, is affected by 
atmospheric and other conditions of the individual’s 
environment as well as bv internal conditions which 
affect his general health. Now there are two kinds of 
chemicals: “inorganic” chemicals, which have an arti¬ 
ficial or mineral origin, and “organic” chemicals, which 


RAW MATERIALS 


31 


originate from plants or animals. When either kind is 
applied to the human system, the hair in this instance, 
it must be borne in mind that the body itself is composed 
of organic chemicals and that the chemicals added must 
be in cohesive proportion. That is to say, that if too 
much or too little of any one product is used, the results 
are likely to be detrimental to the health in one form 
or another. For any given purpose it is absolutely essen¬ 
tial to use the right materials in the correct proportions, 
as otherwise irreparable damage may be done. Be care¬ 
ful ! ‘ ‘ An ounce of prevention is better than a pound of 
cure.” 

PERMANGANATE OF POTASH (Potassium Perman¬ 
ganate) 

This chemical usually comes in the form of dark 
purple crystals, having a blueish, metallic sheen and a 
sweetish, astringent taste. It is soluble in water, sul¬ 
furic acid, acetic acid and alcohol. It is used as a disin¬ 
fectant and deodorant in the form of a one half of one 
per cent solution in water. It is also used for bleaching 
textiles and waxes, for manufacturing other chemicals 
and for many other purposes which do not interest us. 
Peroxide of Hydrogen completely decolorizes a one per 
cent solution of potassium permanganate, and this gives 
you a good method of testing the strength of peroxide 
before applying it to the hair. A solution of Perman¬ 
ganate of Potash is frequently used as a bleaching agent 
on white hair which has turned yellow. This solution is 
first applied to the hair and this application is followed 
by rinsing with a weak solution of peroxide, which 
causes the purplish color to turn snow white. This is 
in turn followed by a rinse with warm water to remove 
any traces of the peroxide. 

SODIUM SULPHITE {Sulphite of Soda) 

Sodium Sulphite is usually in the form of white 
crystals or powder of a saline, sulphurous taste. It is 
soluble in water and insoluble in alcohol. When exposed 
to the air it decomposes very quickly. It is used exten¬ 
sively in photography, as a reducing agent in chemical 


32 - 


practical use of 


processes, as a preservative and antiseptic. In the wood, 
paper, wool, cotton and straw industries, this chemical 
is widely used as a substitute for chlorine in bleaching 
processes. You will note that all of the industries men¬ 
tioned are concerned with ‘‘organic” materials; that is, 
those derived from plants or animals. It is known that 
the human body, including the hair, contains a certain 
amount of sulphur, and it is upon the presence of this 
chemical that the action of Sodium Sulphite, as a hair 
whitener for yellow streaked hair, depends for its re¬ 
action. A weak solution of acetic acid or vinegar will 
hasten the action of the Sodium Sulphite, but it should 
be handled with great care. Sodium Bisulphite is too 
strong for use on the hair, although it is used a great 
deal in the industries mentioned above. 

METHYL VIOLET BLUEING 

This product is quite similar to methylene Blue and 
serves as a blueing agent rather than as a direct bleach. 
It is used for white or grey hair on the head and for 
dead hair which has been sun-bleached or artificially 
bleached. The principle is the same as in ordinary 
laundry blueing. After shampooing and rinsing the 
white or grey hair, make a weak blueing solution by 
taking about a quarter of a teaspoonful of the Methyl 
Violet Blue and dissolving in about a pint of warm water. 
Rinse the hair with this solution or apply it with cotton 
and rinse again with plain water. Hair, thus blued, 
should then be exposed to strong sunlight which will 
help to bring out the snow white color with a slight 
blueish cast in place of the original yellowish-white. 

You have above three distinct processes for bleaching 
white hair, and you may well ask “Why bother with 
three when one should be sufficient?” The answer n 
simple enough: what will work perfectly in one case will 
give poor or indifferent results in another. Here again 
the factor of experience enters. Practice will soon tell 
you what bleach to employ for a given type of hair. 
You must of course consider the original shade of the 
hair and whether or not it has turned completely white 
with a yellowish cast or only partially grey or white. 


RAW MATERIALS 


33 


Chapter Y. 

DYES 

GENERAL 

Beginning with this chapter, I shall discuss those 
chemicals and raw materials of interest to the beauty 
Culturist, which are usually employed in connection 
with other products to serve a given purpose. I shall, 
therefore, simply give brief descriptions and state the 
uses of these materials in the beauty parlor. You may 
in turn refer to the index of the second part of this book 
for the detailed formulae in which these products are 
employed. For the sake of convenience of treatment, 
I have subdivided the dyes as follows: Natural Dyes, 
Coloring Matters and Chemical and Aniline Dyes. 

NATURAL DYES 

Many of these, such as Henna, Indigo Leaves,Walnut 
Powder, etc. have already been fully discussed in the 
chapter devoted to Hair Packs, to which I refer you. 

CATECHU ( Cutch ), also called Terra Japonica is 
derived from the wood and seed pods of the acacia cate¬ 
chu and from the betel nut, which grows on a species of 
palm tree. Both varieties come principally from India. 
Catechu extract contains twenty-five per cent and the 
solid mass fifty per cent of tannin. Its principal uses 
are in textile dyeing and in the tanning of leather. For 
hair dyeing Catechu is dissolved in boiling water. The 
switches, false hair pieces or loose hair to be freshened 
and darkened are first cleaned with soap and water of all 
fats and oils and then placed in the boiling solution. 
They should be taken out at intervals and the process 
stopped when the desired shade has been reached. Then 
rinse with clean water but use no soap. If a solution of 
potassium bichromate is added to the rinsing bath, the 
color will become faster and darker. The stronger the 
catechu solution is made, the darker the resulting shade 
wilHie. It is within the option of the operator to obtain 
almost any shade from brown to black. 

INDIGO ( Madras ) comes in the form of dark blue 
lumps or powder and is odorless and tasteless. It is 


34 


PRACTICAL USE OP 


fully soluble in sulphuric acid and is derived from 
various species of Indigo Fera or manufactured arti¬ 
ficially (synthetic indigo). The principal uses are in 
textile dyeing, printing and ink manufacture. The 
natural Indigo is recognized to be the better grade for 
the reason that it gives clearer and brighter colors than 
the synthetic. I have many times tried to substitute 
Indigo for Indigo Leaves in packs and elsewhere but have 
never suceeded in obtaining the rich shade given by the 
powdered Indigo Leaves. There is always a danger of get¬ 
ting an unnatural blueish tinge to the hair where Indigo 
is used. Of course further experiments along this line may 
show that this can be overcome by the addition of other 
chemicals, but whether the resulting mixture can be 
safely used on the human head is another question. 

LOGWOOD AND LOGWOOD EXTRACT , also 
called Hematine or Campechu, is the heart-wood of a tree 
growing in Central America. The wood itself comes 
to this market in yellowish looking chips or powder. The 
extract is either solid or in crystal or powder form of a 
dark brown appearance. It is widely used in textile 
and other dyeing. False hair may be dyed by boiling 
it in a solution of the wood extract. The shades produced 
by this process vary according to the strength of the 
oxidizing agent. With alkali blue violet shades are 
produced, which change to darker shades with the assis¬ 
tance of metallic oxides. By adding copper salts, such 
as copper nitrate, copper chloride, copper sulphate, etc., 
together with potassium or sodium chromate, excellent 
black shades are obtained. The uses of logwood and 
catechu vary according to the original finess or coarse¬ 
ness of the hair and the natural color of same. Both 
products are old timers and their uses have been known 
for many years. The alert owner of a hair-dressing es¬ 
tablishment can save a lot of money by using catechu 
and logwood to refresh and dye old hair pieces, false 
hair, etc. instead of giving this work to some outsider, 
who will probably charge a stiff price for his knowledge 
of the use of raw materials. A little practice will con¬ 
vince you of the utter simplicity of work of this kind 
and the absurdity of paying a fancy price for it. 


RAW MATERIALS 


35 


COLORING MATTERS 

In the Beauty Parlor business you are very often 
called upon to make up a special hair tonic, brilliantine, 
nail polish, face powder, toilet water or perfume. For 
these and other similar products you require coloring 
matters of sound origin and harmless in every respect 
like those used by bakers, confectioners and beverage 
manufacturers. Some of these colors are soluble in water, 
some in oils and others in alcohol, according to the pur¬ 
pose for which they are intended. Such colors should 
always be prepared or mixed in enameled or glass vessels 
and never, under any circumstances, kept in tin contain¬ 
ers. The commoner colors of vegetable or animal origin 
are the following: 

Alcannine : Made from alkanna root. Red for oils, 
fats and waxes; colors alkalis blue; also soluble in alcohol 
and ether. 

Carmine: A pigment extracted from dried coccus 
cacti. Red for lotions; turns violet in ammonia or other 
alkaline solutions; turns red when acids are added; 
soluble in water and alcohol. 

Chlorophyll : The green coloring matter of grass 
or leaves. Green for oils, fats or soaps; obtainable in 
two grades, one oil-soluble, the other water-soluble. 

Cudbear : An extract from various lichens. A 
blue or violet color, soluble in alcohol or water; when 
ammonia is added, will turn pinkish-red. 

Curcuma Powder ( Turmeric ) : A vegetable color, 
especially adapted for coloring fats or oils; gives a yellow 
or amber shade. 

Eosine: An aniline color. A red crystalline pow¬ 
der, soluble in alcohol or acetic acid, insoluble in water. 
Used for nail polishes, etc. 

Cochineal: Made from the dried bodies of a female 
insect. Red or pink color for food products or toilet 
preparations. To be prepared in ammoniated solution of 
alum or tartaric acid. 

Saffron : The stigmas of crocus savitus. Yellow or 
orange color; water soluble; used for confectionery, in 
medicine and as a spice in cookery. The Spanish or 
French product is the best quality. 


36 


PRACTICAL USE OF 


The following list comprises the principal coloring 
matters for technical purposes. They are sold in the 
form of powders, pastes or strong liquid solutions. Any 
good commercial laboratory is equipped to turn out any 
shade that may be desired. 

Water-soluble perfumers’ colors: Primrose Yellow 
—New Rose Pink—Cardinal Red—Carmine Red (for 
face powder) — Lettuce Green — Moss Green — Marine 
Blue—Violet—Lavender—Caramel Brown—Deep Black. 

Water-soluble soap colors: Cream Yellow—Ruby 
Red — Grass Green — Dark Blue — Windsor Brown — 
Lemon Yellow—Opal Yellow—Myrtle Green. 

Alcohol-soluble colors: Amber Yellow—Bright Red 
—Blueish Green—Sky Blue—Lilac—Mahogany Brown. 

Oil-soluble colors: Golden Yellow—Rose Pink— 
Maroon Red—-Navy Blue—Olive Green—Cocoa Brown. 

In using the above colors it must be remembered 
that they are very concentrated, and that a very little 
will color a great deal of liquid. About four to eight 
ounces is ordinarily sufficient for a gallon of liquid, de¬ 
pending of course upon the depth of the shade required. 
The solution will be better if the liquid is hot or boiling 
when the coloring matter is added. Use enamelled or 
glass receptacles exclusively for this sort of work. 

CHEMICAL HAIR DYES 

We now wish to take up a brief description of 
ordinary chemicals used in hair dyeing. The various 
formulae, involving the use of these chemicals will be 
found in the second part of this book. 

Copper Chloride: (Cupric Chloride) This chemical 
comes in the form of a yellow powder or small, greenish- 
blue crystals. It is poisonous; water-soluble; used as a 
mordant in dyeing and printing fabrics, in making 
sympathetic ink and as an oxidizing agent in the manu¬ 
facture of aniline dyes for fast black colors, etc. It is 
also used in many hair dyes. 

Copper Nitrate : (Cupric Nitrate) Small blue crys¬ 
tals; poisonous; soluble in water and alcohol; used in 
medicine and also in the preparation of light-sensitive 


RAW MATERIALS 


37 


paper for reproducing processes. Also used for hair 
dyes. 

Copper Oxide, Black : (Cupric Oxide) A brownish- 
black, amorphous powder; soluble in acids, insoluble in 
water; used principally for producing green and blue 
colors in glass, porcelain and stone-ware, as a reagent in 
analytical chemistry and as a hair dye. 

Copper Sulphate: (Cupric Sulphate) Blue crys¬ 
tals or powder; poisonous; soluble in water or alcohol. 
A very important chemical used in the textile and leather 
industries, principally as a mordant; also used in the 
manufacture of germicides, insecticides, pigments, elec¬ 
tric batteries, hair dyes and medicines. 

Cobalt Nitrate: (Cobaltus Nitrate) Red crystals; 
deliquescent in moist air; soluble in water and acids; 
used in the manufacture of sympathetic inks and pig¬ 
ments and, very occasionally, in hair dyes. 

Gallic Acid: Colorless or slightly yellow, crystaline 
needles or prisms ; soluble in alcohol, sparingly soluble 
in water and ether. An important chemical used in 
photography, dyeing in all its branches, medicine, and 
in the manufacture of writing inks and pyrogallic acid. 
Next to tannic acid, one of the most useful chemicals in 
hair dyeing. 

Iron Sulphate: (Ferrous Sulphate or Copperas) 
Greenish crystals or powder; soluble in water, insoluble 
in alcohol. A chemical very widely used for water puri¬ 
fication, in medicine, in photography, as a mordant for 
dyeing in the textile and leather industries, and in the 
manufacture of writing inks, pigments (notably Prussian 
Blue), disinfectants, deodorizes, and other iron salts. Is 
also an important chemical in hair dyeing. 

Nickel Nitrate : Green, deliquescent crystals; should 
always be kept tightly corked; soluble in water and alco¬ 
hol. Used alone for nickel-plating and, in connection 
with ammonia and gallic acid, for dyeing furs or hair. 

Pyrogallic Acid: (Pyrogallol) White, lustrous 
crystals; soluble in water, alcohol or ether. Used largely 
in photography; also one of the most important chemi¬ 
cals in hair dyeing. 

Resorcin: (Resorcinol) Very white crystals, which, 


38 


PRACTICAL USE OF 


if not perfectly pure will become pink upon exposure to 
light. Has an unpleasant, sweet taste; soluble in water, 
alcohol or benzol. Important in the manufacture of 
dyestuffs, medicines and hair tonics. Widely used as 
an antiseptic, antispasmodic and antipyretic, both in¬ 
ternally and externally. Also used in hair dyes. 

Silver Nitrate : (Lunar Caustic) Colorless, crystal 
plates, which turn dark upon exposure to light; bitter, 
caustic, metallic taste; poisonous and corrosive. Used 
widely in photography and for dyeing hair in connection 
with peroxide of hydrogen, ammonia, and pyrogallic 
acid. Is also used in the manufacture of other silver 
salts, indelible ink and mirrors. 

Tannic Acid: (Tannin) Lustrous, slightly yellow¬ 
ish, amorphous powder; soluble in water and alcohol. Is 
the strongest astringent and antiseptic of vegetable 
origin. Used in medicine, photography, and in the manu¬ 
facture of textiles and tannates; also used as a mordant 
in aniline dyeing of blue and black colors, in making 
inks, etc. 

ANILINE DYES 

We now come to the aniline colors and intermediates. 
The latter are produced by the distillation and re-dis¬ 
tillation of coal and its by-products and should be used 
with the greatest care. Some of them are very caustic 
and have a harmful effect upon the skin and scalp, due to 
their reaction upon the blood. I do not recommend the use 
of intermediates for hair dyeing by novices, although I 
admit that nothing quicker or productive of more easily 
controllable shades has as yet been discovered. Some 
of the well-known liquid and powdered hair dyes contain 
intermediates as their coloring agent. If the person, to 
whom coal-tar (intermediate) dyes are applied, is not in 
perfect health, the application of such dyes may, at 
times, entail serious consequences detrimental to the 
general health. It is, therefore always advisable even 
for the most skilful operator to make certain skin tests 
a day or two before applying these dyes, as suggested by 
the manufacturers of same. Such tests may be made 
pnder the subject’s arm, behind the ear or on the neck, 


RAW MATERIALS 


39 


and the resulting spots may be easily removed with a 
weak solution of caustic soda or potash, followed by a 
light massage with cold cream or olive oil. The few 
direct aniline colors applicable to the hair are practically 
harmless but not nearly so effective as the coal - tar 
intermediates. 

A niline Black : A black color mostly used on vege¬ 
table fibre (cotton and other textiles) with the help of a 
mordant and a metallic salt such as copper sulphate. 
Soluble in water. 

Bismarck Brown : (Aniline Brown). A dark, 
brownish powder, soluble in water. Sometimes used with 
boiled coffee or tea as a titian brown rinse. Gives a 
reddish shade. 

Nigrosin(e) : A blue-black dyestuff; soluble in 
water, alcohol, or oil; used in the manufacture of ink 
and shoe polish and for dyeing leather, wood, textiles, 
etc. If used without a mordant on the hair, it will grad¬ 
ually wash off. 

Ortho-Amino Phenol : White, greyish crystals, sol¬ 
uble in water or alcohol. An intermediate used in the 
manufacture of dye-stuffs and hair dyes. 

Para - Phenylene - Diamine : (Paradiamidobenzol) 
There are three members of the phenylenediamine group : 
Meta, Ortho and Para, of which the last named is the 
most important as well as the most poisonous. It comes 
in the form of colorless or greyish-white (sometimes 
reddish) crystals, which tend to turn black when ex¬ 
posed to the air. It is soluble in water or alcohol. Ac¬ 
cording to E. Merck of Darmstadt, a two per cent solu¬ 
tion of Para-Phenylene-Diamine in water together with 
one and one half per cent of potassium hydroxide should 
give an excellent hair dye to be used as the “ Number 
Two” application. The corresponding “Number One” 
application should consist, according to shade desired, 
of plain 10% vol. peroxide U. S. P. for black or of a five 
per cent solution of iron chloride for brown shades. 
Other shades may be easily obtained by weakening the 
“Number One” application for brown and also by weak¬ 
ening the “Number Two” application for the very light 
shades. The hair should be washed and rinsed thorough- 


40 


PRACTICAL USE OF 


1 y before applying. As I said before, Para-Phenylene- 
Diamine is poisonous, and this formula should conse¬ 
quently be used only on dead hair, since application on 
the head may have disastrous results as previously ex¬ 
plained. If you are not an expert do not play with 
“Para”! This important intermediate is so very effec¬ 
tive and speedy that the temptation to use it is great, 
and it is employed by many hair dye manufacturers, 
old and new. Its use on living hair is condemned by the 
Board of Health of New York City. This product is 
extensively used in dyeing furs and pelts and is also 
employed in the rubber industry. 

Par a-Amido-Phenol : A greyish-white crystaline 
substance, soluble in water and alcohol; used mostly in 
dyeing furs and occasionally in hair dyes. It is not so 
dangerous as the foregoing product. It is used in pho¬ 
tography for developing the rich dark brown to matt 
black undergrounds. 

In closing this chapter I should like to say that any 
suggestions from readers of this book relative to the use 
of dyes or to other things of interest to the profession 
will be gladly welcomed and greatly appreciated, since 
substantial progress and development in this field can 
only result in the future, as it has in the past, from a 
close cooperation between the practical worker and the 
theoretical scientist. There are many more products 
which might be considered under the general heading 
of “Dyes,” which, however, do not interest the hair¬ 
dressing profession. Any questions which may arise 
will be willingly discussed with individual readers or 
treated in subsequeunt editions of this book. 

Chapter VI. 

MISCELLANEOUS 

GENERAL 

I am devoting this chapter to a brief consideration 
of several chemicals and raw materials of the utmost 
importance in beauty culture, which, because of the 
multiplicity of their uses or for other reasons, cannot 
properly be classified under any other heading. I shall 
continue to adhere to the policy of mere description and 


RAW MATERIALS 


41 


explanation, leaving all directions as to the specific uses 
of these products to the section devoted to formulae. 
Only in exceptional cases will it be necessary to go into 
any great detail. 

AMMONIA, AQUA (Ammonia Water) 

A colorless gas in aqueous solution; obtained through 
various distillation processes. Is widely used in nearly 
all trades, an important example being the saponification 
of fats and oils. Different strengths are in the market, 
such as technical, U. S. P., 16°, 20°, 26°, 28°. Always use 
the strongest. Your grocer will sell you ammonia water 
of a technical grade, but you should not use such material 
to apply on the human head. Use the double strength 
or 28°. A few drops of this grade will greatly assist any 
dyeing or bleaching process, and is particularly useful 
in stimulating the action of peroxides. Ammonia is a 
great cleanser for metals, due to its chemical properties. 
Glass or rubber stoppers should always be used on 
ammonia bottles, since corks will decompose if constantly 
exposed to ammonia fumes, 

BAY BUM 

The imported West Indian grade is superior in fra¬ 
grance to all the other hundreds of varieties. As a result 
of Prohibition, distillers are now making bay rum from 
alcohol by adding bay oil and coloring matter. Specially 
denatured alcohol is used for this purpose and the 
finished product does not always have the best effect 
when used as an astringent on skin or scalp. Of course 
there are many uses for a good bay rum; for instance, 
as an astringent or general hair and scalp tonic, for facial 
massages and packs, and for body massage (reducing). 
A good grade of imported bay rum is, without a doubt, 
one of the necessities in any modern beauty parlor. 

FORMALDEHYDE U. S. P. ( Formalin ) 

A clear, colorless liquid, being an aqueous solution 
(40% by volume or 37% by weight) of formaldehyde gas, 
which is also soluble in alcohol. It has a suffocating, 
pungent odor and is poisonous when inhaled or taken 
into the stomach. Antidotes are smelling of ammonia, 


PRACTICAL USE OF 


42 - 


hot baths and drinking milk. This the only efficient 
gaseous antiseptic in solution, which is perfectly harmless 
if properly diluted and can be freely used. As an anti¬ 
septic and deodorant, use a one half of one per cent so - 
ution. For sterilizing use up to a ten per cent solution 
as a wash or else make use of the fumes in a closed steril¬ 
izer The use of formaldehyde in the industries is quite 
diversified. It is employed for hardening skins and m 
the manufacture of ink, rubber, anilines, leather paper, 
etc. Formaldehyde is a germicide, funpcide, disinfec¬ 
tant and deodorant and has been esspecially recommen¬ 
ded to every beauty parlor and hairdresser by the Board 
of Health of the City of New York. 


MINERAL OIL 

There are two general classifications of this product: 
domestic grade, refined from domestic crude oil. and 
Russian grade, refined from Russian crude oil. These 
are further subdivided into various grades according to 
specific gravity (thickness). The Russian is the better 
and more expensive grade and is used to the exclusion 
of all others by the leaders in the hairdressing profession. 
It is most important that the mineral oil which you use 
should be colorless, odorless, tasteless and double-refined. 
The proper specific gravity for the beauty culture pro¬ 
fession is about 845/850°. All brilliantines and most 
hair oils have mineral oil as their base. I recommend the 
use of the best mineral oil after shampooing to make the 
hair glossy and fluffy, unless it is very oily by nature. 
Mineral oil also minimizes any harm which may result 
from dyeing or bleaching. You should always have a 
supply on hand, as it lasts a long time and is very inex¬ 
pensive. It gives to the hair great brilliancy, hence the 
name, “brilliantine.” Mineral oil may be colored green, 
amber, or any color (see section on coloring matters), 
perfumed with essential or floral oils and filled into small, 
handy bottles with neat labels for sale in your shop. 
Such bottles can be sold for twenty-five to fifty cents or 
even more at a very attractive profit. Mineral oil or 
brilliantine should be applied after the hair is thoroughly 
dry with a soft brush, or else rubbed between the palms 
of the hands and applied by light massage. 


RAW MATERIALS 


43 


WITCH HAZEL 

One of the greatest blessings to the practicioner of 
beauty culture, as well as to the medical doctor, is this 
well-known alcoholic (herbal) extract of the dried leaves, 
bark and twigs of the Hamamelis plant, which grows 
abundantly in the New England States and Southward 
along the Atlantic seaboard as far as Louisiana. The 
soothing, healing and nerve-resting astringent agent of 
its sap is called Hemameltamin. These properties have 
made of Witch Hazel a familiar, household medicine for 
sun-burn and other skin irritations. Millions of gallons 
are used yearly, and its popularity increases with use. 
In every corner of the globe our own typical American 
Witch Hazel is known and appreciated by the millions 
of daily users among both sexes. There is nothing better 
for massaging, face packs, and many other uses than a 
really good grade of Witch Hazel. Remember always, 
however, that only the best grades are good enough to be 
applied to the human skin. There are many inferior 
grades on the market made With denatured alcohol or 
diluted with water. Medical authorities considered the 
matter of sufficient importance to step in and specify in 
the United States Pharmacopeia that Witch Hazel should 
contain fifteen per cent of pure alcohol. Some distillers 
have gone further and raised the percentage to sixteen 
or eighteen per cent, charging a proportionately higher 
price for the improved product. It would be trying 
your patience too far to list here the manifold uses of 
Witch Hazel, but I refer you to the formula section 
where you will find it appearing frequently. 

ACETIC ACID (Vinegar Acid) 

In its pure state acetic acid is a clear, colorless 
liquid. Vinegar is a dilute form of acetic acid, usually 
of vegetable origin. This acid is made by distillation or 
oxidation, helped by bacterial action and is soluble in 
water or alcohol. There are quite a number of strengths 
in the market, graded according to the percentage of 
anhydrous (pure, undiluted) acetic acid. An important 
item for the manufacture of perfumes or food flavoring 
extracts, this acid is also used in the textile industry. 


44 


practical use of 


In a diluted form it is used here and there iu the beauty 
parlor principally to maintain the shade in red or ash- 
blond (drab) hair. This acid has a tendency to make 
light brown hair reddish and therefore supplies a quick 
process for the titian red. The very strongest grade 
(glaciale) is used for removing warts and in chiropody. 

AMMONIUM CHLORIDE (Ammonium Muriate or Sal 
Ammoniac) 

Comes in the form of white or greyish crystals or 
powder; soluble in water or aqua ammonia. Is used 
widely in medicine and in the manufacture of ammonium 
compounds, electric batteries and textiles ; also used by 
the manufacturers of henna dyes to take the place of 
liquid ammonia. 

AMMONIUM SULPHATE 

Greyish-white crystals, soluble in water. An im¬ 
portant chemical in the manufacture of aqua ammonia; 
also used as a fertilizer. When thoroughly soaked in a 
solution of this chemical and dried in the sun, cotton and 
other textiles are very resistant to fire. Ammonium 
sulphate takes a place in hair dyeing and powdered dyes 
similar to ammonium chloride. 

BENZOIC ACID 

White to greyish needle crystals, soluble in alcohol 
but only slightly soluble in water. Used like benzoate 
of soda as a preservative and antiseptic; also used in the 
manufacture of dentrifices, perfumes, medicines and ani- 
ine dye-stuffs and in seasoning tobacco to prevent 
molding. 

BORAX (Sodium Borate or Biborate) 

White crystals or powder; soluble in water or glycer¬ 
ine, insoluble in alcohol. Used extensively in medicine, 
tanning, textile and ceramic manufacture and as a food 
preservative. Added to a shampoo, it acts to neutralize 
the oil and grease of the hair and scalp; that is, it cuts 
away this oil or grease and causes the oil glands to dry 
out and thereby stimulates their action if applied in very 
weak solution. Borax is also used in one form or another 


RAW MATERIALS 


45 


iii most permanent waving processes in connection with 
the electric current. Borax is a valuable antiseptic in skin 
diseases, used in creams or as a wash. 

BORIC (. Boracic ) ACID 

White crystals or powder, soluble in water, alcohol 
or glycerine. Is used in pottery and glass manufacture, 
as a preservative and as an antiseptic in medicine. An 
excellent eye-wash in one to four per cent solution. Used 
in the proportion of five to ten per cent as an ointment 
with petrolatum or vaseline. The widely diversified uses 
of boric acid are similar to those of borax, though its 
action is, in general, more intense. 

CARBOLIC ACID ( Phenol) 

A clear, white, crystaline mass which turns pink or 
red if not perfectly pure; absorbs water from the air 
and liquefies; of a distinctive odor; a strong corrosive 
poison; soluble in alcohol, water or glycerine. It is a 
powerful antiseptic. For disinfecting a one per cent 
solution in water is customary. For a mouth wash the 
same or a weaker solution is used, and for ointments 
with lanolin and vaseline three per cent is about right, 
antidotes are chalk with milk, ice, whiskey and vinegar 
and water. 

CITRIC ACID 

Colorless and odorless crystals or powder, soluble in 
water or alcohol. Is obtained from lemons and other 
citrous fruits. Is used principally in medicine as an 
antiseptic and wound dressing and in the manufacture 
of soft drinks. 

GLYCERINE 

A clear, colorless, odorless, sirupy liquid, having a 
sweet, warm taste; soluble in water or alcohol. Used 
extensively by perfumers and cosmeticians. A necessity 
for every modern beauty shop; used as a skin softener, 
on the manicure table and even for the hair. May be 
diluted with olive oil, rose water, orange-flower water, 
mineral oil or plain water. Detailed formulae are in the 
second part of this book. 


46 


PRACTICAL USE OP 


MAGNESIUM CARBONATE {Magnesia) 

A very light, white to greyish powder, consisting 
of a mixture of crystals and amorphous powder; soluble 
in diluted acids, insoluble in water. Used in medicine 
and in the manufacture of tooth pastes, face powders, 
dry-cleaning compounds and fire-proof flooring. In con¬ 
nection with kaolin and precipitated chalk it acts as a 
substitute for white henna. Is also used in connection 
with yellow beeswax and barium sulphide as a hair re¬ 
moving wax. When used on the human scalp or skin, 
magnesium carbonate should be absolutely pure and en¬ 
tirely free from sodium carbonate, sulphates or other 
metallic salts. 

OXALIC ACID 

Transparent, colorless crystals; poisonous; soluble 
in water or alcohol. Used in dye-stuff manufacture; 
also for purifying glycerine and stearine (stearic acid) , 
and for bleaching straw and polishing metal. It is the 
best ink and rust remover. In beauty culture it is used 
here and there in manicuring as a nail bleach and polish. 
Owing to its poisonous character this use is not recom¬ 
mended. Antidotes are lime water and magnesia with 
milk. 

POTASSIUM BICARBONATE {Baking Soda) 

Colorless, odorless, transparent crystals or white 
powder, soluble in water. Used in medicine and also in 
cookery instead of yeast or baking powder. 

POTASSIUM CARBONATE {Potash, Salts of Tartar) 

Granular or white, hygroscopic powder, soluble in 
water. Used in the textile industry for dyeing and 
bleaching, and in the manufacture of glass, soft soap 
and pottery. Also used in medicine, internally and ex¬ 
ternally for ointments or as a bath salt. 

POTASSIUM SULPHATE 

White hard crystals or powder, soluble in water 
Used in medicine and various industries. 


RAW MATERIALS 


47 


POTASSIUM SULPHIDE (Liver Sulphur) 

A yellow-brown, crystalline mass deliquescent in 
air and of a disagreeable odor. Should be kept tightly 
corked. Soluble in water, alcohol and glycerine. Used 
in medicine as a health bath against skin diseases, rheu¬ 
matism, etc. Used also to prepare depilatories and oc¬ 
casionally in hair dyes. 

SAL SODA (Sodium Carbonate, Carbonic Soda , 
Washing Soda) 

Colorless crystals or white powder, soluble in water 
or glycerine. An important chemical in the manufacture 
of glass, soap, cotton, wool, paper and dyes; also used 
for bleaching linens; in photography; for preventing 
boiler and pipe scale; in medicine for eye-washes, gargles 
.and nasal douches. When added to a shampoo, it re¬ 
moves excessive oil and grease from the hair by saponifi¬ 
cation. It should also be added to shampoo in cold 
weather to prevent sediment. (See chapter on Shampoo 
Soaps). 

SALICYLIC ACID 

White, soft crystals, soluble in alcohol and ether, 
slightly soluble in water. Used as a preservative, in 
medicine and in the manufacture of dye-stuffs, perfumes, 
etc. An important external antiseptic in two to five per 
cent solution for cleansing wounds and as a mouth wash. 
A one per cent mixture with collodion is used for treat¬ 
ing corns and a five per cent mixture with talcum for 
excessive perspiration of the feet. Also used in oint¬ 
ments and salves. 

SAPONIN 

A white to brown powder of a pungent, disagreeable 
taste and odor; poisonous; soluble in water, foaming 
very freely when shaken. Used as a foam producer in 
beverages, emulsions, liquid soaps and hair tonics, also 
as a substitute for soap. Dissolved in water it is an 
effective fire-extinguisher. 


48 


PRACTICAL USE OF 


SOAP BABE ( Quillaya) 

The dried bark of a tree growing in Chile, Pern and 
Bolivia (South America). Used in medicine for throat 
and lung affections and technically as a water softener 
and foam producer in liquid shampoos, hair tonics and 
chamomile or henna shampoos. It is also used for clean¬ 
ing silks and other delicate fabrics. The bark is boiled 
either alone or with other ingredients in order to extract 
the small amount of saponin and tannin which it contains. 

SODIUM BENZOATE 

A white, amorphous, crystalline or granular, odor¬ 
less powder of a sweetish, astringent taste, soluble in 
water and alcohol. An important food preservative and 
antiseptic. The best preserving agent for creams, tonics, 
ointments, etc. 

SODIUM BICARBONATE (Baking Soda , Vichy Salt) 

White powder or lumps, soluble in water. Used in 
mineral waters and other beverages, for carbonic health 
baths, as baking powder and in medicine, internally for 
acid stomach and externally as an antiseptic for burns, 
wounds, insect bites, abscesses, etc. 

SODIUM CARBONATE (See Sal Soda) 

SODIUM HYPOSULPHITE (Sodium Thiosulphate , 
Antichlor, “Hypo”) 

White, transparent crystals of a cooling taste, soluble 
in water. Used in large quantities in photography as a 
fixing agent; also used in tanning, paper-making and 
bleaching, for disinfecting drinking water, as a mordant 
in dyeing and in medicine as an antiseptic for skin and 
mouth diseases. In beauty culture this chemical has 
assumed considerable importance of late, due to its use in 
the permanent waving lotion (see formulae) and many 
other uses. 

SODIUM NITRATE ( Chilisalpeter ) 

Colorless, odorless crystals of slightly bitter taste, 
soluble in water or glycerine and slightly soluble in 
alcohol. This salt is used technically in the manufacture 


RAW MATERIALS 


49 


of sulphuric and nitric acids and explosives. It is also 
the greatest of all fertilizers and the best preserving 
agent in the meat packing industry. In medicine it is 
very widely used for rheumatism and as a refrigerant 
for bandaging. 

SODIUM PERBORATE ( Perborax, Perborin) 

A white, crystalline powder, soluble in water and 
glycerine. Due to its high percentage of available oxy¬ 
gen, it is a strong antiseptic, used in place of boracic 
acid and peroxide of hydrogen. For the same reason, 
it is used on the hair as an oxidizing agent and as a de¬ 
veloper of vegetable colors. It is also used in oxygen 
baths and in many toilet preparations; also as a bleach¬ 
ing agent and as a deodorant in connection with citric 
acid; also in ointments with a petrolatum base. 

SODIUM SULPHATE ( Glauber’s Salt ) 

Very small, colorless crystals, soluble in water. Used 
in the manufacture of other chemicals and glass, in medi¬ 
cine and textile dyeing, and for freezing mixtures. 

SODIUM SULPHITE 

White to colorless crystals, soluble in water. Used 
as a preservative and antiseptic, and in photography as 
a reducing agent. In the latter respect it is also an im¬ 
portant chemical in liquid, metallic hair dyes. 

— 0 — 

We now turn to the various tinctures used in the 
profession, either alone or as the aromatic agent or active 
principle in tonics, creams or ointments. Here again 
I am giving a bare descriptive outline, refraining from 
detailed comment, as all of these tinctures reappear in the 
section devoted to formulae. A tincture (U. S. P.) is 
an alcoholic solution of a drug or an alcoholic extract 
from a drug material. 

TINCTURE OF BENZOIN 

This tincture is made from the aromatic gum or resin 
of a tree, growing in Siam and Sumatra. It is reddish- 


50 


practical use of 


brown in color and has a balsamic smell and taste. When 
water is added the tincture becomes cloudy and milky, 
due to the fact that the gum is insoluble in water. A 
few drops of this preparation are used to give many 
toilet preparations just the right appearance and aro¬ 
matic odor. It is used widely in the manufacture of 
perfumery and cosmetics, medicines and cigars and a 
fractional amount is found in most face packs, creams, 
astringent tonics and ointments. 

TINCTURE OF CANTHAR1DES 

Made from dried and pulverized Spanish flies or 
“ blistering beetles/ ’ Contains, as its active principle, 
cantharidin (a camphor), which serves as a powerful 
irritating agent in medical plasters or corn plasters. It 
stimulates the blood circulation and nerves of the scalp 
and is usually considered as the only really effective hair 
grower. It is accordingly found in many hair tonics, 
creams and ointments. It is poisonous and should never 
be used internally. 

TINCTURE OF CAPSICUM ( Capsici) 

Is made from red pepper (also called paprika or 
cayenne, African, or bird pepper). It is reddish-yellow 
in color and of a sharp, burning taste. The fruit is used 
as a spice. The tincture is employed in medicine in the 
treatment of scarlet fever and for liniments or other 
purposes where a strong counter-irritant is required. In 
the beauty profession, it is used as a stimulant for the 
scalp in tonics, ointments and pomades. 

TINCTURE OF IODINE 

Used in medicine to prevent infection of scratches 
or wounds or thickening of the skin glands. When used 
Too often on the same spot it tends to harden the skin. 
'•Iodine is also used for the manufacture of many organic 
coin pounds in the dye-stuff industry. Although some¬ 
times used as a hair dye. Iodine is not good for this pur¬ 
pose as it washes off easily and tends to destroy the horny, 
protective coat on the outside of the hair. Tincture of 
Iodine is sometimes used as the active agent in reducing 
creams. 


RAW MATERIALS 


51 


TINCTURE OF IODINE ( Decolorized) 

The same as the above, except that it is a white in¬ 
stead of a reddish-brown liquid It is decolorized with 
ammonia or sodium thiosulphate and is used when it is 
desired to avoid the brown stain on the skin. 

TINCTURE OF LARKSPUR 

Is made from the seeds of a bush growing in southern 
Europe. Poisonous. The best remedy for nits or hair 
lice or skin scabs. Usually applied in diluted form by 
rubbing in. In serious cases may be applied undiluted, 
provided there is no broken skin on the scalp of the 
subject or hands of the operator. 

The above are the most important tinctures for 
practical use in beauty culture. The details of applica¬ 
tion, except as given in the formulae, have been purposely 
omitted, since they are determined in most cases by in¬ 
dividual conditions, and depend largely upon the judge¬ 
ment and experience of the operator. I shall be only too 
pleased to answer any requests for further information 
to the best of my ability. 

— 0 — 

Essential oils are so called because they are direct 
extracts from flowers, blossoms, fruits, etc., and contain 
the ‘‘essence” or odor-giving property in highly concen¬ 
trated form. You will undoubtedly find one or the other 
of these oils useful at many times, more especially if you 
sell or use in your parlor products of your own manu¬ 
facture, made from approved recipes. Many of these 
oils are self-explanatory and require no detailed descrip¬ 
tion, but I shall give at least anything which may prove 
of general interest such as strength, solubility, etc. These 
oils are used principally in the manufacture of perfumery 
and other cosmetics, whether in liquid, creamy or solid 
form. The perfume floral oils really belong in the same 
classification but I shall touch upon them only very 
lightly here, leaving instructions as to their use to the 
section on formulae, since they require no such detailed 
explanation as many other chemicals and raw materials 
used in beauty culture. 


52 


PRACTICAL USE OF 


In the extensive field of perfumeries and cosmetics, 
individual taste in odors and appearance of packages 
really play a larger part than the quality of the goods 
themselves. The business-like thing to do before making 
up any product of your own, no matter how good, is to 
ask yourself whether or not you will be able to sell the 
article to your customers at a reasonable profit after 
making due allowance for your investment of time and 
money. I do not intend to imply by the above that the 
quality of the goods is to be left out of consideration 
entirely. Quite the contrary. Always be prepared to 
stand behind anything that you sell to the limit. Re¬ 
member that, while one sale may be made on the strength 
of an attractive package or a low price, the steady “re¬ 
peat business” comes only when the quality of the goods 
themselves is uniformly high. Never hesitate to make 
good by exchange or refund when a customer is not satis¬ 
fied with goods or services, since you know that mistakes 
on your part or on the part of your employees are always 
likely to occur. It is quite unnecessary to remind you 
how difficult it is to get and keep good customers and 
how easy it is to lose them on the slightest of pretexts, 
since your competitor is as eager as you are for business. 
In order to conserve this valuable asset of the good-will 
of your trade, you should always be careful to use only 
the best of raw materials and ingredients; they pay for 
themselves in the long run. A cheap lavender, bergamot, 
rose or lilac or, in fact, any cheap goods will not help 
you to increase your business but on the contrary will 
act just the opposite and probably do far more harm and 
produce losses far in excess of the paltry savings, repre¬ 
sented by the difference in price between such goods and 
goods of quality. Any manufacturer or wholesaler in 
the perfumery or cosmetic line will support me in the 
above statement, I am sure. But, let us go on with the 
oils. 

OIL OF ALMOND ( Bitter) 

A yellowish, highly refracting liquid of aromatic 
odor, soluble in water, alcohol, or ether. Used in medi¬ 
cine, chiropody, perfumes and cosmetics. 


RAW MATERIALS 




OIL OF ALLSPICE 

A colorless or pale yellow liquid, becoming darker 
and thicker with age and exposure to the air. Has a 
strong, aromatic, clove-like odor and a pungent spicy 
taste; soluble in alcohol, ether or acetic acid (glaciale). 
Used in medicine and for flavoring. 

OIL OF BAY 

A bright yellow liquid of aromatic odor, soluble in 
alcohol, ether and benzol. Used in medicine and cosmetics 
and for the manufacture of cheap bay rum. 

OIL OF BERGAMOT 

A yellowish-green liquid of a very fragrant odor 
and bitter taste, soluble in alcohol, ether and benzol. 
Used to overcome unpleasant odors and to correct the 
smell of naphthalin. In the cosmetic field is used princi¬ 
pally in hair oils, pomades and ointments. 

OIL OF (BIRCH) TAR 

A heavy, dark brown liquid of a strong phenolic 
odor, soluble in ether, alcohol or benzol; obtained from 
the dry distillation of the wood and bark of the birch 
tree. Is a strong disinfectant and also a preservative 
of wood and leather. Used for skin diseases and scalp 
troubles in the same way as tar ointment. 

OIL OF BOIS HE ROSE 

A light yellowish liquid of a rose odor, obtained 
form rose bushes and therefore a cheaper grade of rose 
oil than that obtained from the flowers themselves. Sol¬ 
uble in alcohol and ether. 

OIL OF CADE 

A thick clear liquid of tarry odor, having a burning, 
bitter taste; soluble in alcohol and ether; obtained from 
dry distillation of juniper wood; used in medicine in the 
treatment of rheumatism and for skin and scalp diseases 
in the form of salves and liniments. Also used in the 
manufacture of animal soaps. 


54 PRACTICAL USE OF 

OIL OF CAMPHOR 

A light, colorless liquid of characteristic odor, sol¬ 
uble in alcohol and ether. Used in medicine and for 
pomades, ointments, reducing creams and for cosmetics 
for its odor. 

OIL OF EUCALYPTUS 

A colorless or slightly yellowish liquid of a character¬ 
istic, camphor-like, aromatic odor and of a pungent, 
spicy yet cooling taste; soluble in alcohol or ether. Used 
in medicine as an antiseptic and internally in the treat¬ 
ment of various diseases; used especially for inhaling in 
the treatment of asthma and bronchitis. Also used in 
many perfumes, as a base for other oils and in medicinal 
soaps for skin and scalp troubles. 

OIL OF (ROSE) GERANIUM (African or Turkish) 

A pale, yellowish or greenish liquid of an exceedingly 
agreeable, rose-like odor; soluble in alcohol or ether. 
Used almost exclusively for perfumes and very little in 
cosmetics. 

OIL OF LAVENDER FLOWERS 

A colorless or yellowish liquid of a fragrant, 
lavender odor, soluble in alcohol, ether or benzol. Used 
principally in perfumes and expensive creams. 

OIL OF LEMON 

A pale, yellow, limpid liquid of a fragrant odor and 
aromatic, bitterish taste; soluble in alcohol and ether. 
Used widely as a flavoring agent in soaps, creams, tonics, 
perfumes, soft drinks and confections. 

OIL OF NEROLI (Natural or artificial) 

A reddish-yellow colored liquid. There are a number 
of varieties made from various species of blossoms, leaves 
or unripe fruit. Soluble in alcohol or ether. Used in 
perfumes and also as a flavoring agent in certain bev¬ 
erages. 

OIL OF ORANGE FLOWERS 

Similar to oil of Neroli but a cheaper grade. 


RAW MATERIALS 


55 


OIL OF PETIT GRAIN 

A yellowish liquid of an odor similar to oil of Neroli. 
Soluble in alcohol and ether; used in perfumes and fine 
creams. 

OIL OF PINE NEEDLE (Fir Wood Oil) 

A bright yellow, volatile, thin, liquid oil; of an 
aromatic odor and taste; soluble in alcohol, ether or 
turpentine. Used in medicine for rheumatism and as a 
mouth spray to disinfect the bronchial tubes. Is also 
used in reducing bath salts for its very refreshing quali¬ 
ties, for pine essences and for cosmetics and perfumes 
in general. 

OIL OF ROSE ( Bulgarian, artificial) 

A pale, yellow, transparent, volatile, liquid oil of a 
mild, sweet taste and strong, fragrant odor; semi-solid 
at ordinary temperatures; soluble in alcohol. When 
very much diluted an agreeable, rose odor develops. 
Used exclusively for perfumes. 

OIL OF ROSEMARY 

A colorless or light green or yellowish liquid, soluble 
in alcohol, ether or turpentine. Is used for denaturing 
purposes, due to its cheapness, and also in cosmetic 
manufacture. It contains camphor among other things 
and has a near pine odor. 

OIL OF SAGE 

A yellow or greenish-yellow liquid of a peculiar odor, 
soluble in alcohol. Used in ointments or salves where 
the odor of sage leaves is desired, also in perfumery. 

OIL OF SANDALWOOD 

A thick, yellow, volatile liquid of a spicy taste and 
aromatic odor; soluble in alcohol and ether. Besides 
being important in medicine, this oil is used as a base 
for the manufacture of expensive perfumes. It is also 
used in curing tobacco. 

OIL OF YLANG YLANG 

A pale yellow, liquid oil noted for its delicious 


56 


PRACTICAL USE OF 


perfume, soluble in alcohol, ether, benzol and acetone. 
Used extensively in perfumes. 

FLORAL OILS 

We now come to the’ floral oils as an appropriate 
conclusion to this section on perfume oils. Floral oils 
are all more or less of the same nature as the essential 
oils above described, except that they can be mixed with 
other oils (such as mineral oil) or water beside being 
soluble in alcohol and ether. They are ideal for perfum¬ 
ing shampoos, brilliantines or creams. The variety of 
odors is almost infinite and new ones are added from day 
to day. Some of the more usual “stock” odors are the 
following: Bouquet—Carnation—Heliotrope—Honey¬ 
suckle—J asmine—Lilac—Lily—'Oriental—Peach—Rosie 
Tuberose—White Rose—Violet—Wistaria. Science is 
continually creating new odors, usually in response to a 
demand from the practical man in industry for some¬ 
thing new. Here, as in other fields, Science is the fellow- 
worker of trade and one is dependent upon the other. 
Close cooperation between the two is the only key to con¬ 
tinued advancement. For this reason I wish again to 
urge the practical men in the trade to come out boldly 
with any suggestions or new ideas, which are sure to 
receive every consideration and which will benefit not 
only the individual but the profession in general. 

Closely allied to the essential oils and floral oils are 
the concentrated essences. The more common of these 
are the 100 plex essences of Almond, Bay Rum, Lemon, 
Rose and Vanilla. These essences are used variously 
in the cosmetic field. The Essence of Rose may be used 
to make a very delightful rose water according to the 
following formula: Add about one ounce of the Essence 
to one gallon of water, mix thoroughly and the rose 
water is ready for use. 

MERCURY BICHLORIDE (Mercuric Chloride, Cor¬ 
rosive Sublimate) 

In the handy form of small tablets, this chemical is an 
excellent practical disinfectant. It is one of the strongest 
antiseptics known and, internally, is a very deadly, 
corrosive poison. It should only be used externally 


RAW MATERIALS 


57 


in a weak solution in water. After handling a skin 
or scalp infected with any dangerous or contagious 
disease, the hands of the operator should always be bathed 
in this solution both for her protection and for the pro¬ 
tection of other customers. All combs, brushes and other 
implements should be washed at least once a month in a 
solution of Mercury Bichloride to kill all dangerous 
germs and thereby prevent the spread of infection. 
Antidotes for Mercury Bichloride poisoning are milk, 
white of raw eggs lime water and vomiting. 

This completes the general discussion of miscel¬ 
laneous chemicals and raw materials used at the present 
time in the beauty parlor. Undoubtedly continued pro¬ 
gress in the profession as well as further study and 
research on my part will from time to time disclose other 
products which should be included, and a discussion of 
such products will be undertaken either in subsequent 
editions of this book or in supplements thereto. 


Chapter YII. 

THE SCALP AND HAIR 

This chapter will be devoted to those chemicals and 
other raw materials which are used principally in the 
treatment of the scalp and hair. Of course many pro¬ 
ducts such as the packs, bleaches, tinctures, etc. have 
already been fully discussed in other chapters and will 
not again be touched upon here. 

The culture of the scalp and hair has gradually de¬ 
veloped until it stands to-day almost on a level with the 
other sciences. It is my opinion that no hairdresser can 
be termed a hair culturist unless he has made a special 
study of the hair and scalp over a long period of years. 
Practical experience in the shop, while essential, is not 
always sufficient in itself alone, especially when one stops 
to think that many medical men and women have de¬ 
voted their entire lives to the study of these important 
parts of the human body. Many colleges and universities 
now have special courses devoted to this field but we are 


58 


PRACTICAL USE OF 


still far short of attaining complete development, al¬ 
though such men as Professors Lassar, Unna and others 
have contributed important works on the subject. There 
is a movement now on foot, sponsored by some of the 
most prominent figures in the hairdressing profession, 
which aims at government supervision and regulation 
of the trade and proper licensing of every newcomer 
upon passing a prescribed examination. Nothing could 
do more to elevate Beauty Culture and its exponents. 
Such a step would raise them from the status of a service 
trade to the dignity of a profession, where they really 
belong. 

BALSAM PERU 

A dark brown, molasses-like liquid of a pleasant, 
aromatic odor and warm bitter taste; soluble in alcohol 
and ether; can also be mixed with acetone, acetic acid 
glaciale and benzol. It is used in perfumery and in 
medicine for all kinds of skin and scalp diseases; also 
used in the manufacture of chocolate. 

CANTHARIDES 

(See Tincture of Cantharides in preceding chapter.) 

CASTOR OIL (Ricinus Oil) 

A heavy yellow to yellow-brown liquid, soluble in 
alcohol, ether or benzol. It is said to have a stimulating 
effect upon the growth of hair but should be used in 
moderation, since it tends to make the hair too greasy 
or even gluey, when used continually. For hair and 
scalp treatments it is always better to mix one oil with 
another of a little different character; for example, 
castor oil with olive oil or crude oil. Among the formu¬ 
lae you will find many recipes for hair oils, pomades 
or brilliantines. For coloring oils or oil mixtures, I refer 
you to the chapter on that subject. Great care should be 
exercised in coloring the fatty oils, and colors of a vege¬ 
table origin should be used so far as possible. For green 
use chlorophyll, for red alcannin, for yellow curcuma 
and for brown catechu. Be careful also to use only the 
highest grade oils of a sweet, clean odor, refusing to 


RAW MATERIALS 


59 


accept any sour or rancid material. I suppose it is un¬ 
necessary for me to mention that Castor Oil is one of the 
simplest and best remedies for constipation. It is also 
of value as a hair grower, dissolved in alcohol in the 
proportion of one part oil to three parts alcohol. A 
little tincture of cantharides may also be added but this 
is not really necessary as this remedy is of value only in 
the early stages of treatment. Later on, scalp massage 
with the more elaborate hair oils should begin. 

COCOANUT OIL 

A lard-like fat of characteristic odor, of a light 
yellow color when warm and liquid and white when cold 
and semi-solid; soluble in alcohol. This is one of the 
most nutritious oils and it is sometimes used in cookery 
as a substitute for butter in many prepared foods. It 
is also used to a great extent in the cosmetic field and in 
the manufacture of nearly all high grade soaps. Cocoa- 
nut Oil is important in hair culture. For scalp treat¬ 
ments, however, it should never be used pure.but always 
mixed with olive oil or crude oil. It is used in many 
ointments for the nourishment of dry scalps. 

CRUDE OIL 

A light, inflammable, dark, reddish-brown liquid, 
showing a distinct greenish fluorescence if it is of genuine 
Pennsylvania origin. Pennsylvania Crude is the best 
grade and the only one suitable for application to the 
hair and scalp. It is a mixture of many (one hundred 
to one hundred and fifty) hydrocarbons such as benzine, 
gasoline, kerosene, parrafin, petrolatum, petrol, petrol¬ 
eum, ether, ligrain, petrolene, naphtha, solar oil, mineral 
oil, rock oil and a host of others. Some of these hydro¬ 
carbons are very beneficial to the hair, and treatments 
with crude oil mixed with some vegetable oil (olive, 
castor or cocoanut) and applied hot are always in order, 
particularly where it is desired to give new life to hair 
that has been weakened by sickness or nervous shock. 
The so called “German Oil” is a mixture of Olive Oil 
and Crude Oil. It is used as a special hair oil for scalp 
massage, 


60 


PRACTICAL USE OF 


OLIVE OIL {Sweet Oil—Florence Oil) 

A pale yellow or greenish-yellow liquid, soluble in 
ether or chloroform, and to some extent in alcohol. It 
is manufactured chiefly in Italy, France and Spain, 
the Italian grade usually being considered the best. 
Besides being used as a food and in ointments, liniments 
and special hair treatments, large quantities of this oil 
are used in the manufacture of Castile Soap, textile 
and medicinal soaps, shampoo soap bases, lubricants, etc. 
Pure Olive Oil or Olive Oil mixed with a little alcohol 
and floral oil to give it aroma and artificially colored 
may be filled in small bottles and sold in your shop at an 
attractive profit It is actually the best thing known for 
an excessively dry scalp. An authority on cosmetics has 
said, “ Olive Oil should be found on the dressing table 
of every girl who is anxious to make the most of her 
looks; for the constant use of this oil has proved to be 
the greatest known beautifier, whether used externally 
for hair, scalp or skin or internally.” Olive Oil, which 
has been slightly warmed has been used for ages as a cure 
for chapped hands and hardened skin, and nothing is 
better for softening callouses on the feet or hands. It 
makes an excellent massage oil, although you may prefer 
cold cream for this purpose. It is a known fact that the 
women of Italy and Spain have used Olive Oil in this 
way for countless centuries. It is also well known that, 
if this oil is rubbed into the scalp regularly, say once or 
twice a week, graying of hair will be postponed. Of 
course considerable pains must be taken in making the 
application, since it is desirable to rub the oil well into 
the scalp and at the same time prevent it so far as pos¬ 
sible from getting on the hair. A little crude oil may be 
advantageous]^ mixed with the Olive Oil before applying. 
The finest grade of Olive Oil comes from the first pressing 
of the olives and is known in commerce as “virgin” oil. 
This is the grade which should invariably be used for 
culinary, medicinal or cosmetic purposes, because the 
poorer grades, although they may not be adulterated, 
are likely to contain pulp and other matter which will do 
more harm than good. 


RAW MATERIALS 


61 


OINTMENTS ( Sulphur, Tar, or Zinc ) 

The uses of these popular remedies for skin and 
scalp diseases and irritations are too well known to re¬ 
quire comment here, and they are consequently merely 
mentioned in passing as belonging in this chapter. 

ORRIS ROOT POWDER 

A yellowish-white powder, varying in color accord¬ 
ing to quality, the poorer grades being darker; of a 
bitter taste and violet-like odor. Used in cosmetics and 
for tooth powders. In the form of a very dry powder 
it is used in the beauty parlor as a dry shampoo to ab¬ 
sorb excessive oil. When so used, it is worked into the 
hair, allowed to remain for a time and then thoroughly 
brushed out. 

PETROLATUM ( Vaseline, Mineral Fat, Petroleum 
Jelly, Cosmoline, Sasoline) 

Various grades according to color, ranging from 
Snow White through Lily White and Cream White to 
Light or Dark Amber. A petroleum ointment of gela¬ 
tinous, oily translucent, semi-solid, amorphous mass, 
having a melting point of 45° to 48° Centrigrade; soluble 
in ether, chloroform, benzine, benzol and oils, slightly 
soluble in alcohol and insoluble in water or glycerine. 
It is widely used in medicine as an antiseptic and emol¬ 
lient, and as a well known ointment base. Technically 
it is employed in clay modelling, as a leather grease, a 
lubricant and rust preventative for machinery and fire¬ 
arms, and in the manufacture of shoe polish, soaps, 
pomades and as a perfume extractor. Petrolatum will 
never become rancid. 

QUININE SULPHATE 

White, soft crystals, soluble in hot water, ether, 
alcohol or chloroform. Used extensively in medicine 
and also for special hair tonics and ointments. An excel¬ 
lent antiseptic for abscesses, bleeding or soreness of the 
scalp. 


62 


PRACTICAL USE OF 


PILOCARP1N HYDROCHLORIDE 

Very hygroscopic, white, needle-like crystals, soluble 
in water and alcohol. Used mostly in medicine. A very 
excellent, though rather expensive hair grower. For 
ointments use one part to fifty parts lanolin or petrolatum 
and for tonics use one part to two hundred parts of Rose 
Water (or Orange Flower Water), ten parts of glycerine 
and one part of quinine sulphate. Be careful in hand¬ 
ling this drug, as it is a deadly poison. 

QUINCE SEED 

Violet brown kernels. The best are imported from 
the Near East. Used in medicine for eye-washes and also 
in cosmetics. Of late, the boiled extract of this seed has 
been used as a curling fluid for the hair, for which pur¬ 
pose its sticky phlegm makes it very suitable. 

SULPHUR FLOWERS 

Sublimed and precipitated sulphur of a yellow to 
yellow-white appearance, insoluble in water. Important 
in medicine and in cosmetics for the treatment of skin 
and scalp diseases in connection with ointment bases of 
lanolin, petrolatum (vaseline), etc., or as a wash with 
rose water. A valuable antiseptic. 

THYMOL 

Colorless crystals of a distinct peculiar odor, soluble 
in alcohol, oils, water, glycerine. Used in medicine, 
perfumery, and as a preserving, antiseptic and embalm¬ 
ing compound. Externally its use is similar to that of 
carbolic acid, though it is not so dangerous. It is an 
excellent mouth and tooth wash in one per cent solution 
of alcohol and water. It is a cousin to menthol but not so 
expensive. 

This concludes the list of raw materials used more 
specifically in the treatment of the scalp and hair. I 
wish again to refer you to other chapters which contain 
many items which might just as well be classified here. 
Very many items, such as olive oil have such varied and 
overlapping uses in the beauty shop that they almost 
defy classification. Let me remind you again that this 


RAW MATERIALS 


63 


book is a first attempt at being constructively helpful to 
the profession along this line, and like any first effort, 
is more likely to have its shortcomings. I am sure that 
future editions will not only be more complete but will 
have the lines of classification much more finely drawn. 
Here again I count on the cooperation of my readers. 


Chapter VIII. 

THE SKIN 

This chapter will take up the chemicals and raw 
materials whose principal use in the beauty shop has to 
do with skin culture. 

ALMOND MEAL 

A grayish-white soft powder, obtained after pressing 
all of the oil out of almonds. Used largely in cosmetics 
as a perfume base, in the manufacture of bitter almond 
water and confectionery, and in the beauty parlor for 
face packs for softening and beautifying the skin or for 
body massage; also used as a substitute for soap. Almond 
meal is very often adulterated or even imitated by a mix¬ 
ture of ground oatmeal, orris root powder, Italian talc, 
white neutral soap land borax, flavored with bitter 
almond oil. The genuine almond meal is one of the 
greatest aids in obtaining a soft, velvety skin through 
cleansing and massage. Added to creams, the results 
are usually very satisfactory, due to the tissue nourish¬ 
ing qualities of beeswax and almond meal. 

ALMOND (SWEET) OIL 

A yellowish liquid of aromatic odor, soluble in alco¬ 
hol. ether, or benzol. It is used principally as a beauti¬ 
fying agent, as it is a great skin and tissue nourishes 
It is also used in perfume and cosmetic manufacture 
and in medicine as a soothing and healing agent for 
burns; also as a lubricant for delicate machinery 
Beware of imitations and adulterations with other oils of 
like appearance. 


64 


practical use of 


ARROW ROOT POWDER 

A white starch obtained from the roots of several 
plants growing in Bermuda and others of the West 
Indies. It is similar to tapioca and other starches and 
serves as a sizing for creams and pomades to give them 
a stiffer consistency. 

BEESWAX (White Wax) 

A well-known animal product usually sold in the 
form of blocks or small disks. Is soluble in alcohol, ether, 
acetone, and chloroform and is the base of many beauti¬ 
fying creams, in fact of all of the really good and whole¬ 
some creams. Other bases frequently used are cocoa 
butter, lanolin and petrolatum. Beeswax is frequently 
adulterated with tallow, stearic acid, resin, parrafine, 
ceresine and similar waxes which are cheaper but never 
as good. Beeswax is also used in the manufacture of 
depilatory waxes, and in medicine for various ointments 
and plasters. 

BETANAPHTHOL 

White, lustrous, bulky scales, soluble in alcohol, 
ether, chloroform and oils but only slightly soluble in 
water. Used principally in the manufacture of dye¬ 
stuffs and in medicine for skin infections and diseases 
such as eczema in the form of a cream or tonic contain¬ 
ing from two to ten per cent of betanaphthol, according 
to strength desired. This material is also used as a pre¬ 
servative and antiseptic in hair and skin tonics. 

CAMPHOR (Gum Camphor) 

A white translucent mass, easily broken and of a 
characteristic odor; soluble in alcohol, ether or chloro¬ 
form. Important in the manufacture of celluloid, fire¬ 
works, tooth powders and lacquers; an excellent moth 
preventitive; used extensively in medicine and cosmetics 
in the form of sticks, creams or ointments for the treat¬ 
ment of nervousness, headaches, cramps, rheumatism, 
inflammations, toothaches, asthma, etc. For parasitic 
skin diseases, creams or ointments containing one to two 
per cent of camphor are recommended. 


RAW MATERIALS 


65 


CHALK, PRECIPITATED (French or Vienna Chalk- 
Limestone—Calcium Carbonate) 

A white, amorphous powder, soluble in all acids but 
insoluble in water. Very important in general chemistry 
and widely used in various industries. Also used for 
tooth pastes and powders, as a silver and metal polish 
and here and there in cosmetics. 

COCOA BETTER 

A yellowish to white, brittle, solid fat of a choeolaty 
odor and taste; soluble in ether, alcohol, chloroform or 
benzol. Used extensively in pharmacy and confectionery 
and in the cosmetic field for fine toilet soaps, creams and 
ointments. It melts at about thirty to thirty-four degrees 
Centigrade. Due to its comparatively high price, it is 
frequently adulterated with cocoanut or palm kernel fats. 

DEPILATORIES 

The working agents of all depilatories are the sul¬ 
phides of Barium, Calcium, Potassium, Sodium and 
Strontium. When these sulphides are brought into close 
contact with the hair of the skin, the roots become 
loosened in the root channels, causing the hairs to fall 
out. Never attempt to use these sulphides in their pure 
form, becase they may cause inflammations or irritations 
of the skin. The least dangerous of the sulphides is that 
of Strontium. All of them are used in paste form, pre¬ 
pared with chalk or kaolin with glycerine and water. 
This paste is applied to the skin in the form of a compress 
for ten to thirty minutes until the parts begin to itch. 
The paste should then be thoroughly washed off and the 
skin massaged with a good cold cream to offset any irri¬ 
tation. The same principle may be applied with white 
or yellow beeswax, which is first melted and the above 
ingredients then added. Mbst prepared depilatories 
are perfumed with oil of bergamot or some other strong 
perfume to cover the unpleasant sulphur odor. Exact 
formulae will be found in the second part of the book. 

EPSOM SALT ( Technical) (Magnesium Sulphate) 

Greyish to white or colorless crystals or lumps, sol¬ 
uble in water or alcohol: of a bitter taste. Besides being 


66 


PRACTICAL USE OF 


used in many industries and (in pure form) as a medi¬ 
cine, this chemical is an excellent bath salt. In fact, 
most expensive bath salts have Epsom Salt as their base 
and are simply colored and perfumed to make them sell 
readily. Used in the proportion of one pound to a full 
hot bath, Epsom Salt is very refreshing and has also a 
fat-reducing and muscle toning action. After the bath, 
the body should be rubbed down with witch hazel, alcohol 
or bay rum and massaged wdth a good tissue-building 
cream. 

FULLER’S EARTH (Grey or White) 

A special dry clay with a relatively high content of 
magnesia. It is used in great quantities as a decolorizing 
agent, as a perfect filtering medium and as sizing for 
asbestos packing, etc. Because of its high percentage of 
minerals, it has become the basis of almost every mud 
facial or bath pack in connection with kaolin, orris root 
powder, almond meal, balsam Peru, tincture of benzoin, 
witch hazel, etc. 

GUM TRAGACANTH POWDER ( Tragacanth) 

A dull white or yellowish powder; gives an aqueous 
solution in peroxide of hydrogen, swells up in water, 
insoluble in alcohol. Used in pharmacy for adhesives, 
as a leather dressing, in emulsions and various cosmetics. 
It is sometimes added to fine face powders to make them 
adhere better to the skin and to creams, ointments and 
tonics to give them a more lustrous appearance 

KAOLIN (Terra Alba, China Clay, Porcelain Clay, 
White Bole) 

A white clay similar to infusorial earth, containing 
principally aluminum silicate; soluble in hydrochloric 
acid, insoluble in water. Even more important than 
fuller’s earth in the ceramic, pigment, paint, pencil, soap 
and textile industries; also used as a filler and sizer in 
paper manufacture. In the beauty profession kaolin is 
used for mud packs and in creams and ointments as 
a filler to make them heavier. 


RAW MATERIALS 


67 


LANOLIN (Adeps Lanae) 

A purified wool grease. The anhydrous (without 
water) is a yellowish, fatty mass, and the hydrous (with 
25% water) is yellow white in color. Both are germ free 
and not likely to become rancid. As lanolin is of animal 
origin, it is one of the best things to use on the human 
skin and scalp in correct proportion with other ingredi¬ 
ents as the base-for all kinds of salves, creams and oint¬ 
ments. Lanolin melts at 40° Centigrade, is soluble in 
ether or chloroform but insoluble in water. It can, 
however, be mixed with double its weight in water with¬ 
out losing its cream-like consistency. It will absorb 
fifteen to twenty parts of any oil of vegetable or mineral 
origin. 

MENTHOL (Peppermint Camphor) 

Colorless to white crystals of a peppermint-like odor; 
soluble in alcohol or ether, very slightly soluble in water. 
It melts at 44° C. The supply comes principally from 
Japan. It is employed in perfumery, confectionery and 
medicine, being a strong antiseptic, anaesthetic, nerve 
agitator and stimulant of blood circulation. These prop¬ 
erties make it of value in the treatment of tooth-ache, 
asthma, hay-fever, influenza and many other diseases. 
For ointments it is usually taken in the proportion of 
one to ten. 

OCHRE ( French — Golden, Red, Brown or Yellow) 

A metallic oxide of earthy substance, used commer¬ 
cially for paints and pigments. Is very soft and chalky. 
Often used in the beauty profession for darkening face 
powder. Many grades are on the market varying in 
price according to fineness of the powdering and color. 

ORANGE FLOWER WATER 

Is prepared in France and Italy by the thorough 
distillation of fresh orange blossoms in soft water. There 
are several grades of the genuine product on the market, 
not to mention the countless imitations. Used in medi¬ 
cine, confectionery, perfumery and cosmetics. In the 
beauty shop it is frequently added to creams and lotions 
to take the place of the more expensive essential oils, 


68 


PRACTICAL USE OF 


otherwise it is used in a manner similar to the better 
known rose water. 

PARAFFINE (Fully Refined) 

A white, waxy, tasteless, odorless solid, consisting 
of a mixture of solid hydrocarbons, obtained by the dis¬ 
tillation of mineral products (crude oil, ozokerite or 
crude wax, etc.) ; soluble in benzine, benzol, chloroform, 
turpentine and olive oil, insoluble in water, alcohol or 
acids. Its melting point varies from 42° to 60° C. (108° 
to 145° F.) according to quality. The uses of paraffine 
wax are very diversified. Among others are the manu¬ 
facture of candles, matches and lubricants, for water¬ 
proofing fabrics and preserving eggs and in cosmetics as 
a cheap substitute for beeswax in creams. 

RICE STARCH POWDER 

A white, amorphous, tasteless powder which does 
not melt. One of the finest of the commercial starches. 
It ranks next to talcum as a base for fine powders for 
face or skin, since it is of an oil absorbent quality. 
Starches in general have a wide commercial use in many 
industries as well as in the laundry and kitchen. The 
ordinary starch is insoluble in cold water, alcohol or 
ether and forms a jelly in hot water. A soluble starch 
can readily be made by heating the ordinary material 
with glycerine and adding strong alcohol while the 
mixture is cooling; in this form it is used as an emulsify¬ 
ing agent. 

ROSE WATER (Triple Strength) 

Is produced principally in France by the distillation 
and redistillation of fresh rose blossoms in water. It is 
usually clear or slightly cloudy and has an agreeable 
rose odor. It is used a great deal in cosmetics in lotions 
and as an addition to creams instead of ordinary water 
or witch hazel. Rose water and glycerine mixture is an 
old household formula for chapped hands or skin or for 
use as a face and neck lotion. There are many imita¬ 
tions of the genuine rose water, some made from rose 
oil and distilled water and others of even cheaper manu¬ 
facture. 


RAW MATERIALS 


69 


SPERMACETI WAX ( Cetaceum) 

A pearly white, semi-transparent, concrete, fatty 
substance, almost odorless and tasteless, although it 
becomes rancid upon exposure to the air; soluble in ether, 
chloroform or hot alcohol, insoluble in water. The origin 
of spermaceti is interesting: it is found in liquid form in 
the head of the sperm whale and is sometimes seen 
floating in a solid mass upon the surface of the ocean. 
It is used as a base for ointments and creams (especially 
vanishing creams), for cereates and emulsions, and in the 
manufacture of transparent candles, glycerine soaps, 
theatrical make-up and medicinal salves. 

STEARIC ACID ( Stearine—Acid Stearinic) 

A solid white, glossy, odorless mass; soluble in alco¬ 
hol or ether and slightly soluble in water; obtained from 
animal fats and oils by splitting, cooling, pressing, distil¬ 
ling and other processes. It is principally employed in 
the manufacture of candles, stearates (of zinc and other 
metals), soaps and medicines; also used a great deal in 
cosmetics as a hardener of special ointments, creams 
and salves where the use of paraffine is not desirable. 

TALCUM (Italian Talc — Soapstone—Pot stone) 

A natural, hydrous magnesium silicate of which the 
best grade comes from Italy. Domestic or French grades 
are likely to contain free lime and are therefore unsuited 
for use on the human skin. Talc is a soft powder and 
has a greasy or soapy feel. It is used as a face powder 
or harmless make-up either pure or mixed with other 
powders. It is also used in various forms in many of the 
industries. 

WHEAT STARCH POWDER 

Is used in a manner similar to rice starch, though 
of inferior quality. 

ZINC OXIDE (Chinese White—Zinc White) 

An amorphous (loose) white powder which absorbs 
carbon dioxide from the air; soluble in acids, insoluble 
in water or alcohol. Zinc Oxide is an important paint 
and pigment material and is also used in medicine and 


70 


PRACTICAL USE OP 


in general chemistry for making other zinc salts. It is 
excellent as a dusting powder for drying out wounds or 
abrasions and, in ointments in the proportion of three 
to five per cent, it is of value in the treatment of eczema 
and other skin diseases. Mixed into a soft paste with 
glycerine, water and peroxide, zinc oxide is used in the 
beauty shop as a nail bleach. 

ZINC STEARATE 

A white, soft, loose and very light powder, soluble 
only in acids. A powerful antiseptic and astringent 
without the slightest harmful effect upon the mucous 
membranes. Used principally in medicine as a dusting 
powder for burns and wounds, and also in cosmetics 
for medicated talcums. 


Chapter IX. 

THE MANICURE 

ACETONE (Dimethyl Ketone — Methylacetal — 
Pyroacetic Ether) 

A colorless, light liquid of fragrant, mint-like odor; 
very inflammable; soluble in water, alcohol or ether. It 
is an important solvent in the manufacture of varnishes, 
lacquers, smokeless powder, celluloid, etc. It has the 
power of absorbing acetylene gas. Its powerful solvent 
action makes it of value to the beauty culturist as a nail 
polish remover. 

ALUM POWDER (Soda Alum, Aluminum - Sodium 
Sulphate) 

Colorless transparent crystals or white powder, 
soluble in water, insoluble in alcohol. It is used in textile¬ 
dyeing as a mordant, in the paper and dry color indus¬ 
tries and for water purification. It is excellent for 
stopping bleeding and as an antiseptic for small cuts. 
It is also of value as an antiseptic and astringent for 
skin and scalp in watery solution of one to five per cent 
strength for the treatment of abscesses, sores, etc. 


RAW MATERIALS 


71 


AMYL ACETATE (Amylacetic Ether—Banana Oil) 

A colorless, light, flowing liquid of banana-like odor; 
very slightly soluble in water, insoluble in acohol, readily 
soluble in acetone. Its uses are varied from the manu¬ 
facture of flavoring and waterproofing compounds, 
lacquers, bronzing liquids, metallic paints and perfumery 
to acting as a solvent for nitro cellulose (soluble cotton). 
In the manicure it is used to prepare liquid nail polish 
with or without soluble cotton and red or pink coloring 
matter. 

COLLODION ( Pyroxylin) 

A pale yellow, sirupy liquid, very inflammable. 
Used as a skin-like covering for wounds to exclude the 
air. Sometimes used in connection with amyl acetate 
as a polish protector for dry polished nails. The well 
known liquid corn remover of olive green appearance 
is made from six parts cantharides powder and ten parts 
collodion. Mixed with five per cent tincture of iodine it is 
a good remedy for frost bites. When prepared and 
mixed with castor oil or turpentine, collodion contracts 
the skin less than when the pure product is used. 

SOLUBLE COTTON ( Nitro-Cellulose , Gun-Cotton) 

Yellowish to white, amorphous lumps; very inflam¬ 
mable and highly explosive ; soluble in a mixture of 
alcohol and ether, benzol, acetone and amyl acetate; 
insoluble in alcohol, water or ether. It is employed in 
the manufature of liquid nail polishes, collodion, cellu¬ 
loid, smokeless powder and many other products. 

ETHER U. S. P. (Sulphuric Ether—Ethyl Ether — 
Ethyloxide) 

A very light, transparent, colorless, volatile, exceed¬ 
ingly inflammable, mobile liquid of a pleasant aromatic 
odor; soluble in water and alcohol. Used in medicine 
as an anaesthetic, as a solvent and in the manufacture 
of smokeless powder. In the manicure ether is used 
like acetone as a nail polish remover on account of its 


72 


PRACTICAL USE OF 


great solvent power. Be careful to keep ether well-corked 
and away from open lights or electric sparks, as it is 
dangerously inflammable. It is widely used in practical 
and experimental chemistry as it dissolves many fats, 
oils and gums which are not soluble in water or alcohol. 

OXALIC ACID 

Transparent white to colorless crystals; poisonous; 
soluble in water, alcohol or ether. Used largely in the 
manufacture of dyestuffs and stearic acid, for purifying 
glycerine, bleaching straw hats or dead hair and as an 
ink or rust remover and metal polish. Its use as a liquid 
nail bleach (dissolved in water) or in powder form is not 
recommended, because possible scratches and wounds 
may be poisoned by it. 

POTASSIUM HYDROXIDE (Caustic Potash) (Sticks 
or Solution) 

White, deliquescent pieces or watery solution. Should 
be kept well stoppered as it absorbs water and carbon 
dioxide (carbonic acid) from the air. It is soluble in 
water and alcohol. A much better chemical for soap 
manufacture than caustic soda, it is also employed in the 
manufacture of other chemicals, for bleaching and in 
medicine. It is very effective to remove warts, poisoned 
flesh from wounds and “proud flesh” or “wild flesh” 
after burns. 

ZINC OXIDE 

See preceding chapter. 

PUMICE STONE (FF Powdered) 

Is a gray-white, highly vesicular lava (hardened, 
molten rock), varying in composition according to the 
locality of origin, which has been very finely powdered. 
It is very generally used as an abrasive (scratching 
agent) in soaps, fine tooth powders and dry nail polishes. 
It is also employed for polishing metal, glass, horn, bone, 
wood, stone and lacquered objects. 


RAW MATERIALS 


73 


Chapter X. 

“OZON”PRODUCTS 

At the risk of being accused of using this book 
for advertising purposes, I am taking the liberty of 
devoting this one brief chapter to a description of the 
famous line of “OZON,” trademarked products which 
are manufactured by my firm under my personal super¬ 
vision. I am only doing so because I have received so 
many requests for information as to the directions for 
using these products to the best advantage. All ‘ ‘ OZON ’ ’ 
products are obtainable from any reliable jobbing house. 

OZON WHITE (White Henna) 

In one-pound boxes. A specially prepared “white 
henna” (so called), to be used for tinting, bleaching 
or touching up the roots of the hair, to be applied in 
paste form like the Egyptian henna. Any part of the 
hair may be bleached without affecting the rest; no 
running of the bleach; no bad after effects. The only 
preparation which gives a uniform shade to the entire 
head. No yellow streaks or spots. Absolutely harmless. 
Directions: Prepare the paste immediately before using. 
Take a quantity of the powder in a bowl or saucer and 
add enough “OZON” GOLDEN HAIR LOTION to 
make the OZON WHITE HENNA paste. Do not use 
ordinary water. At times it is advisable to add a few 
drops of OZON ACCELERATOR to stimulate the action 
of the OZON WHITE. Apply the paste to the roots or 
wherever needed with a small brush. Let it dry on the 
hair from five to ten minutes, according to shade desired; 
then rinse or shampoo. This preparation has all of the 
advantages and none of the disadvantages of the “Per¬ 
oxide Bleach.” Use a little OZON BRILLIANTINE 
on a soft brush after drying the hair, in order to bring 
out its natural beauty and make it soft and fluffy. 

OZON WHITE also comes packed in small, handy 
boxes for individual use and in “home use” sets, contain¬ 
ing sufficient OZON WHITE powder, lotion and acceler¬ 
ator for about four applications. This set is an attractive 


74 


PRACTICAL USE OF 


and profitable seller during the Summer travelling season. 
The smaller packings are used the same as the large pro¬ 
fessional size, above described. 

OZON GOLDEN HAIR LOTION (The Supreme 
Bleach) 

Is packed for professional use in one pound (16 oz.^> 
sealed bottles and for retailing in a smaller (6 oz.) size 
for individual use. The high standard of this specially 
prepared and highly concentrated peroxide has been 
maintained for years. It is entirely free from acids, 
alkalis or other harmful chemicals and will not crack the 
hair or make it brittle. It is in every respect dependable 
and can be used in its concentrated form for bleaching 
hair in conjunction with OZON WHITE HENNA or, 
diluted with one or two parts of soft water, as a nail 
bleach with zinc oxide and glycerine When used alone, 
the following are the directions for producing light 
(blond) shades of hair: Shampoo and dry the hair 
thorough^. Put about four tablespoonfuls of OZON 
GOLDEN HAIR LOTION in a saucer, adding a few 
drops of OZON ACCELERATOR when the lotion is to 
be used on coarse hair. Use this mixture immediately 
or it will quickly lose its strength. Apply with a small 
brush (an old tooth brush will do), separating the hair 
into strands and working from the roots to the tips. 
Continue the applications until the desired shade is 
reached; then dry the hair and rinse or shampoo to stop 
further lightening. 

OZON (White Henna) ACCELERATOR 

A special, 28° liquid ammonia, perfumed and very 
effective for stimulating the action of OZON WHITE 
HENNA, WHITE HENNA LOTION, OZON GOLDEN 
HAIR LOTION, or any grade of peroxide of hydrogen. 
Never attempt to use ordinary ammonia water or house¬ 
hold ammonia for this purpose. See above for directions 
for use. 

OZON BRILLIANTINE 

Is made up according to an old French formula of 
the purest and finest ingredients. It comes in two odors 


RAW MATERIALS 


75 


and colors: Rose Geranium (Amber) and Violet Bouquet 
(Green), packed either in one pound bottles for shop 
use or in two ounce fancy bottles for retail sale. The 
supreme quality of this product gives to dry hair its 
natural gloss after bleaching or shampooing and it should 
be found in every up-to-the-minute beauty parlor. It 
prevents dandruff or loss of hair, softens the scalp stabil¬ 
izes the roots and nerves and thus preserves the hair. 
It prevents itching of the scalp, which is always a sure 
sign that that the head nerves are overworked. Direc¬ 
tions for use: Rub a few drops between the palms of 
the hands and distribute well in the hair, lightly massag¬ 
ing the scalp until the hair appears glossy and well 
groomed. Then brush the hair from roots to ends for 
about five or ten minutes, using, if available, a long- 
bristled brush. 

OZON HENNA SHAMPOO POWDER 

A special combination of EGYPTIAN HENNA 
POWDER SISCONY, powdered white neutral soap, 
imported Spanish castile soap powder and other vegetable 
ingredients, which, in their proper proportions, cleanse 
the hair with a full, rich, creamy lather and without the 
slightest injury to its texture. This shampoo does not 
stain the hands or scalp but, if used continually, it will 
give to the hair the much desired titian glint. This is 
the same preparation supplied to many manufacturers 
and jobbers for small package distribution but is sold by 
my Company in bulk only; i. e. in one, five and ten-pound 
boxes. Directions: Dissolve a tablespoonful of the 
powder in about a pint of hot water, stirring frequently. 
If more powder is used the titian-coloring effect of the 
shampoo is proportionately increased. Proceed with the 
shampoo in the regular manner, rinsing with warm water 
to which a little OZON DEVELOPER has been added. 
A final light rinse with diluted OZON LIQUID CON¬ 
CENTRATED HENNA RINSE will give a result 
pleasing to the most exacting customer. 

OZON FRENCH DEVELOPER 

A special chemical preparation of great oxidizing 
power, which brings out or “develops” the vegetable 


76 


PRACTICAL USE OF 


color on hair that has been treated with henna dyes, 
Egyptian henna packs, henna shampoo, henna rinse or 
sage rinse. You know from your experience that your 
customers do not see at once the effects of the various 
forms of henna applications, nor will they readily believe 
that it sometimes takes from four to five days for the 
right shade to come out by the action of the oxygen of 
the air as a developing agent. The use of OZON 
FRENCH DEVELOPER eliminates this period of 
anxious waiting and brings out the color more or less at 
once, sufficiently at any rate to prove to your customer 
that you have done your work right and that the henna 
has actually taken effect on the hair. Do not forget, 
however, that the color is only partially brought out by 
the OZON FRENCH DEVELOPER and the process 
will be completed in a day or two by the action of the 
air. It is not advisable to use the developer on very 
light shades as the hair may turn too dark. Do not use 
it on bleached hair at all. Directions: Use the developer 
after the henna has been rinsed from the hair. Dissolve 
a teaspoonful in half a glass of hot or warm water and 
add to your shampoo. Wash the hair slowly with this 
shampoo for two or three minutes, rinse thoroughly and 
proceed as usual. 

OZON WATER SOFTENER (For hard water ) 

In certain sections of the country the profession is 
very much handicapped through inability to obtain soft 
water except by frequent boiling or accumulation of 
rain water. It is a matter of common knowledge that 
soft water is absolutely essential to a good shampoo 
which will lather easily and cleanse thoroughly. In fact, 
a shampoo should never be prepared with hard water. 
OZON WATER SOFTENER is a scientific preparation 
which overcomes the above-mentioned difficulty by soften¬ 
ing the hardest water and thereby increasing the cleans¬ 
ing effects of the shampoo. Directions: Dissolve one 
half ounce of the powder in each gallon of water used in 
preparing the shampoo, otherwise proceeding as usual. 


RAW MATERIALS 


77 


OZON LIQUID CONCENTRATED HENNA RINSE 

Is made by a twenty-four hour boiling out in water 
of selected whole Egyptian Henna leaves together with 
other ingredients calculated to bring out the coloring 
matter and hold same in a watery solution. This concen¬ 
trated rinse serves to eliminate a lot of tedious work 
and expense for the busy operator of a modern beauty 
parlor. Directions: Shake well and use in its concen¬ 
trated form after the hair has been shampooed, rinsed 
and partially dried, applying over the entire length of 
the hair with a soft sponge or a piece of absorbent cotton. 
In order to increase further the titian reddish effect 
without harm, you may add a teaspoonful of vinegar 
(or a few drops of acetic acid glaciale) to about four 
tablespoonfuls of concentrated rinse, using a glass or 
porcelain vessel for mixing. To apply as a regular rinse, 
take a tablespoonful of the concentrated solution to three 
or four tablespoonfuls of warm water or in this propor¬ 
tion. No after rinse with water is necessary, but it is 
advisable to use a little good brilliantine, mineral oil 
or hair oil when drying the hair. 


OZON PERFECT CURLING FLUID (For natural, 
water or permanent waves.) 

This is a vegetable compound in solution which is 
used to give permanency to the curls made with curlers, 
combs, curling irons, and other curling devices. It can 
even be used for permanent waves obtained with borax 
pads and electric permanent waving machines. It is a 
heavy thick liquid and only a little is necessary to moisten 
the hair. OZON PERFECT CURLING FLUID is 
packed for shop use in one and five-pound bottles and 
for retail sale in six-ounce bottles. Directions: Pour 
a little of the fluid in a saucer or bowl and moisten the 
hair to be curled with a small brush. It may also be 
diluted with two or three parts of warm water and 
sprayed over the hair with a fine spray. After applying 
the fluid, proceed as usual with curlers, water waving 
combs, irons or other devices. 


78 


PRACTICAL USE OF 


OZON NAIL BLEACH POWDER 

A harmless chemical compound for cleaning and 
bleaching underneath the finger nails. It is intended 
for shop use only to be filled into the small compartments 
of your manicure set as required. Directions: Mix into 
a paste with water or with half glycerine and diluted 
peroxide and fill into your glass container. After 
cleaning and drying the nails, apply the paste and allow 
it to dry; then brush off with a soft brush. 

OZON EGYPTIAN POWDERED CLAY AND MUD 
PACK (Light Pink } 

OZON DRY LAVA CLAY AND MUD PACK (Grey) 

Both of the above are intended for shop preparation 
of the well-known wet mud pack. The dry form has 
been adopted in order to preserve in fresh and fully 
effective form the oxygen and other healthful ingredients 
which react upon the skin, cleaning and clearing it of 
congested pores (the principal cause of blackheads), 
acne and many forms of so-called pimples and liver spots. 
When used in connection with OZON FACE PACK 
PREPARER these packs are not surpassed by any other 
dry or wet preparation. Both the pink (for light com¬ 
plexions) and the grey packs contain as their base an al¬ 
most magical dry clay which has been known to restore 
the bloom of youth in the most despairing cases, leaving a 
clear and radiant complexion with the muscles firm and 
youthful. When the packs are applied an invigorating 
action takes place, producing a slight “pulling” sensa¬ 
tion as the pores are fully cleansed, the blood cells stimu¬ 
lated to renewed activity and the sagging muscles begin 
to build up again. This is an essential treatment for 
clearing up and beautifying the face and neck and 
making of the complexion a thing of refinement and 
beauty. It draws from the skin accumulated matter of 
a detrimental nature and aids Nature to restore a normal 
healthy condition which is the only real basis for a 
beautiful complexion. Directions: Take about a table¬ 
spoonful of the pink or grey powder, according to the 


RAW MATERIALS 


79 


complexion or effects desired by your client, and a tea¬ 
spoonful of the OZON FACE PACK PREPARER in a 
glass or bowl and mix well until it has the consistency 
of very light, thin cold cream. In place of the ready¬ 
made preparer, you may use the following formula: 
witch hazel 2 y 2 oz., alcohol y 2 oz. or ether %oz., tincture 
of benzoin 6 to 7 drops, balsam Peru 1 drop, sweet 
almond oil 1 oz., lemon essence 2 drops, pine needle oil 
1 drop, oil of eucalyptus 1 drop, oil of lavender 1 drop, 
oil of camphor 1 drop or oil of petitgrain 1 drop to give 
the liquid a clean refined odor. Instead of pure alcohol 
or ether one ounce of imported 60/65% bay rum may be 
substituted, but the amount of perfuming agent must 
then be doubled to overcome the smell of the bay rum. 
After the mud pack is prepared, let it stand for a while 
and begin the thorough preparation of the parts to be 
treated with hot towels and massaging with cold cream 
or massage cream. Then stir up the mud pack and apply 
it to the skin with a piece of absorbent cotton or a small 
brush, letting it dry on the face from ten to thirty min¬ 
utes as desired. Take off the almost dry pack with warm 
water mixed with witch hazel or bay rum or remove by 
massaging with the purest grade of white talcum powder. 
Apply creams again and massage. Finish the treatment 
with a little good face powder. 

OZON ALMOND LOTION 

A liquid cream of almonds, very beneficial to the 
skin. A first aid to beauty to be used after motoring, 
hiking, skating or salt water bathing to off-set their 
roughening effect on the skin. Recommended by leading 
dermatologists for use after the bath and before retiring 
in order to produce a white skin and a clear complexion. 

OZON ALMOND CREAM 
OZON COLD CREAM 
OZON GREASELESS LEMON CREAM 
OZON LEMON CREAM {Greasy) 

OZON MASSAGE CREAM {Heavy) 

OZON VANISHING CREAM {Light) 


80 


PRACTICAL USE OF 


Any elaborate description, explanation or directions 
for use of the above would be superfluous. Suffice it to 
say that almond cream will supply natural skin nouns - 
ment, cold cream is a tissue builder, lemon cream will 
relax strained facial muscles and contract enlarged pores, 
massage cream is good for massaging purposes only and 
vanishing cream serves to protect the skin against cold, 
dust or dampness. All of the above creams are made 
of the very best of raw materials and are as perfect as 
care and experience can make them. 

OZON FACE POWDER ( Perfumed ) ( White—Rachel 
— Pink ) 

OZON TALCUM POWDER ( Unscented) 

The above certainly require no comment. 

Before closing this chapter on specialties, I should 
like to say a few words regarding a few of the well known 
products manufactured by my good friend Gustav 
Sattler. These specialties stand on an equal basis with 
the OZON products so far as quality is concerned. 

SAT TIER’S DRAB TINT 

This is a special preparation for toning down over¬ 
bleached hair and making it one or more shades darker. 
It is also used for overcoming the annoying reddish tint 
(cast) often caused by henna or liquid dyes. All hair 
dyes leave the hair with either a reddish or a greenish 
cast. There is no hair dye now being manufactured 
which will give a drab shade. Dr. Sattler discovered the 
Drab Tint in an effort to find something which would 
produce a suitable shade in hair which had been dyed or 
hennaed and had turned too much toward the reddish 
cast. Sattler’s Drab Tint is really a necessity to every 
hair dyer, as it will enable him to produce the deepest 
drab in a few minutes. Without the Drab Tint the hair 
dyer would frequently be at a loss. Over-bleached hair 
presents one of the most difficult problems that the hair 
dyer has to face, a problem that would be impossible of 
solution without a product of this kind. I suggest that 


RAW MATERIALS 


81 


you do not use any regular hair dye on over-bleached 
hair, since, with the Drab Tint, you can tone it down by 
a simple rinse. 

Method of applying: Drab Tint may be used as a 
rinse or applied with a brush on isolated strands. No 
shampooing is required after the application. Bleached 
hair may be toned down by using one part of Darb Tint 
to 20 parts of water, increasing or decreasing the amount 
of water as required by the shade or texture of the hair. 
Hennaed hair which has turned too bright either over 
the entire head or around the temples and forehead may 
be remedied by using Drab Tint diluted with an equal 
amount of water, increasing or decreasing the amount of 
water according to shade desired. The treatment of dyed 
hair is the same as for hennaed hair. Drab Tint is a 
convenient preparation for toning down any postiche by 
merely rinsing it. Care should be taken as to the strength 
of the solution. I would suggest that you do not use a 
strength of more than one part of Drab Tint to 20 parts 
of water to start. Be cautious when increasing the 
strength. With any postiche made of bleached, dyed or 
refined Chinese hair, extra care should be taken, as the 
Drab Tint will “take” more rapidly. 

SATTLER’S GREEN CAST REMOVER 

Excellent for removing from hair the greenish cast 
caused by dyeing. Directions : Mix half Green Cast 
Remover and half water and apply with a tooth-brush to 
the portion of the hair from which you wish to remove 
the greenish cast. Let it remain on the hair for a few 
minutes, then rub it off with a towel and rinse with water. 
The strength of the solution should be increased only with 
great caution. 

SATTLER’S HAIR WHITENER 

A colorless concentrated hair blueing for removing 
the yellowish streaks in white hair. Directions: Mix 
six or seven drops of the Hair Whitener with a pint of 
warm water. Apply with a brush to the yellowish streaks 
or use as a rinse. 


82 PRACTICAL USE OF 

SATTLER’S “RESTORINA” 

This is a perfectly harmless, two-application hair 
dye, containing no injurious substances whatsoever, and 
guaranteed by the manufacturer not to injure the scalp, 
hair or skin. It is clean and does not leave the hair 
sticky. It will not be affected by sea air, bathing or 
shampooing. Directions: Wash the hair until it is en¬ 
tirely free from grease and oil. Rinse well and, when 
the hair is dry, apply the liquid marked (A) by pouring 
a small quantity into a saucer and using a soft tooth 
brush. Begin at the roots and comb the hair downward 
with a very clean comb. As soon as the hair is dry, apply 
the liquid in the bottle marked (B) in the same manner 
but using a separate saucer and tooth brush. In case 
the hair near the roots does not absorb enough of the dye, 
repeat the operation. When the hair is dry after the 
last application, shampoo with warm water and Castile 
Soap. Rinse well and the operation is finished. Never 
pour the remainder left in the saucers back in the bottles. 
RESTORINA comes in twelve distinct natural shades as 
follows: 


No. 

1 .. 

...Black 

No. 

2 .. 

__ Dark Brown 

No. 

3 .. 

.. Brown 

No. 

4 .. 

..Medium Brown 

No. 

5. 

..Light Brown 

No. 

6. 

. Chesnut 

No. 

7 .. 

. Light Chestnut 

No. 

8 . 

... Auburn 

No. 

9 . 

. Titian Red 

No. 

10.. 

..Blond 

No. 

11 . 

..Light Blond 

No. 

12 . 

.. Ash Blond 


IMPORTANT: Dyes always succeed better on hair 
which has been previously bleached, it absorbs the 
mixture better. This is especially true of white or gray 
hair. It is therefore advisable, when selecting the shade 
of RESTORINA to be used on such bleached hair, to use 
a shade lighter than the desired color. 














RAW MATERIALS 


83 


PART TWO 

FORMULAE 

The following, old-time formulae, now for the first 
time placed at the disposal of the profession, I have 
partly developed and experimented with myself in my 
many years of theoretical study and practical experience 
in the chemical field. Others were developed and passed 
on to me by my father, who was, in his time an authority 
on matters relating to the hairdressing profession. Of 
course I cannot guarantee the absolute infallibility of 
all of these formulae, but I can vouch for the fact that 
all of them are worked out along the lines of practical 
experience and can, at least, serve as a starting point for 
further improvements and variations by the individual 
user. There are many formulae which relate to the 
same general field and, for this reason, I have placed 
a complete index of all formulae in the back of this book 

WEIGHTS AND MEASURES 

Many of these formulae are expressed in weights or 
measures which may not be entirely familiar to the 
profession, and I am therefore giving below some impor¬ 
tant tables of equivalents for ready reference: 

For liquids of the approximate density of water: 

1 pound equals one pint 

2 pounds equal “ quart 

4 y 4 “ “ “ half gallon 

8y 2 “ “ “ gallon 

1 liter equals one quart (approximately) 

Apothecaries’ Weight: 

20 grains equal one scruple 

3 scruples “ “ dram 

8 drams “ “ ounce 

12 ounces “ “ pound 


84 


PRACTICAL USE OF 


Avoirdupois Weight (mostly used) : 

27 11/82 grains equal one dram 

16 drams “ “ ounce 

16 ounces “ “ pound 

Liquid Measure: 

4 gills equal one pint 
2 pints “ “ quart 

4 quarts “ “ gallon 

The following table is approximately correct for 
practical use in converting the weights and measures 
of the Metric (European) system into our units or vice 
versa: 

Metric Avoirdupois 

1 gram equals 15% grains 

28 grams equal 1 ounce 

1 kilogram equals 2 Vs pounds 

450 grams equal 1 pound 

Liquid Measure 
1 liter equals 1 quart 
% “ “ 1 Pint 

WASHING LOTION (For unclean skin, pimples, etc.) 

Sulphur Flowers. 12% grams 

Spirits Camphor.. 25 

Glycerine . 75 

Eau de Cologne .125 

Distilled or cold boiled, soft water....762% “ 

To be shaken well before use. Best used after wash¬ 
ing face with Spanish Castile Soap but before drying. 
Apply with a sponge or absorbent cotton at least twice a 
day. Let the lotion dry on the face. After a week’s 
application, reduce the strength by adding water and 
continue to use as a rinse for the face until fully cured. 


SKIN LOTION 

Borax . 10 grams 

Sodium Sulphate .. 20 “ 

Glycerine . 40 “ 

Rose Water . 930 “ 


Used in the same way and for the same purpose as 
the foregoing. 










RAW MATERIALS 


85 


FRECKLE LOTION (Face and Skin) 

Borax .-. 30 grams 

Rose Water - 434 

Salicylic Acid . 12 

Orange Flower Water..434 

Filter the above solution and then add 

Tincture of Benzoin. 30 grams 

Eau de Cologne. 30 

Spirit of Mustard ...-. 30 

Shake well before using and apply to affected parts. 

FRECKLE WATER 

Borax .-. 12% grams 

Sodium Sulphite .. 25 

Glycerine . 50 

Rose Water ..-.912% “ 

The first two ingredients should be dissolved sepa¬ 
rately in the Rose Water and the glycerine added after¬ 
wards. 

SKIN AND FACE LOTION (Eau de Lys) 

For hard or irritated skin on face, lips or hands. 
Whitening and beneficial in effect. 


Zinc Oxide.-. 10 grams 

Glycerine .----- 20 

Italian Talc.. 10 

Rose Water .. 960 

Apply with sponge and allow to dry. 

SKIN LOTION (For oily skirt; blackheads, etc.) 

Sodium Carbonate ... 32% grams 

Rose Water . 840 

Glycerine .125 

Oil of Allspice or Bouquet. 2% 

SKIN LOTION (to be used same as above) 

Potassium Carbonate . 20 grams 

Rose Water .930 “ 

Borax . 40 


Eau de Cologne or other perfume.... 10 

To be dissolved and allowed to settle for five days 
and then filtered. 
























86 


PRACTICAL USE OP 


BEA UTY LOTION 

{For freckles or other skin blemishes) 


Borax . 80 grams 

Rose Water .4S0 ^ 

Orange Flower Water.460 

HONEY WATER 

Purified Honey .-. 50 grams 

Water ..780 

Borax .. 20 

Alcohol.150 

Oil of Bergamot.-. 15 drops 

Oil of Neroli. 8 

Tincture of Amber. 8 


To be colored with amber coloring matter. 
ALMOND PASTES 

These compounds constitute a separate class of 
beautifiers which are used in cleansing the face and neck 
and giving to the skin a soft velvety appearance. 
Almond pastes, including bran compounds, may be used 
very successfully as substitutes for mud packs and are 
even better in some cases, due to their higher content of 
natural vegetable fats. Borax is usually added as a 
saponifying agent for these oils. The following are 
several formulae for dry and wet pastes: 

(1) Wheat or Corn Flour.890 grams 

Borax . 10 

Oil of Lavender . 2 “ 

Sweet Almond Oil..-----.100 “ 

Oil of Wistaria or Honeysuckle.... 5 “ 

Oil of Bitter Almond. %. “ 

To be thoroughly mixed and run through a sieve. 

(2) Sodium Carbonate. 20 grams 

Orris Root Powder. 90 ‘ ‘ 

Borax.. 40 “ 

Wheat Starch.800 “ 

Oil of Bitter Almond. 20 drops, dissolved in 

Sweet Almond Oil. 50 grams 

Prepared same as above. 























RAW MATERIALS 


87 


(3) (A sandy, almond bran) 

Almond Meal . 240 grams 

Borax . 100 “ 

Orris Root Powder... 50 “ 

Corn Starch . ..240 “ 

Glycerine . 100 “ 

Infusorial Earth _ 250 “ 

Talc (Italian) . 20 “ 

Oil of Lavender (or other). 5 “ 


This is a preparation which can be filled into small 
cotton bags as an attractive retail seller for washing pads. 


(4) Almond Meal..700 grams 

Orris Root Powder... 70 “ 

Rice Starch ...160 “ 

White Neutral Soap Powder.... 60 “ 

Oil of Bitter Almond... 1 “ 


All of the above formula* are prepared like the first 
mentioned. If you wish to use the above as a white mud 
pack or “almond pack” simply add the liquid ingre¬ 
dients such as witch hazel, etc., as fully described in 
Chapter IX. 


FROST BITE AND CHILBLAIN REMEDIES 


(1) Tannic Acid _ 2 parts 

Collodion.20 “ 

Alcohol . 5 “ 

Tincture of Benzoin. 2 “ 

Use to paint the affected parts. 

(2) Alum .. 5 parts 

Water . 100 “ 


Soak flannel in the solution and cover the affected 
parts; renew frequently. 


C REA MS—GENERAL 

In beauty culture the term “creams” is usually ap¬ 
plied to the large variety of watery salve mixtures on an 
oil base, perfumed to suit the individual taste and used to 
bring fatty nourishment to skin, bodily tissue, glands, 
nerves or hair. Animal or vegetable fats usually supply 




















PRACTICAL USE OF 


the bases for such creams. Among the former are lard, 
tallow, stearic acid, beeswax and lanolin, and to the 
latter class belong almond, olive and cocoannt oils, cocoa 
butter and a host of others. Several mineral fats or 
hydrocarbons are also used, such as paraffine, ceresine 
and petrolatum (vaseline). These are not considered so 
good as the fats of natural origin but they have the 
decided advantage of never becoming rancid. Glycerine 
is also employed as a base. The most essential thing in 
preparing any cream is to start with a good sweet (not 
rancid) fat. Especial care should be taken with lard or 
tallow as both become rancid very easily. When melting 
these bases always add 1% of benzoic acid to act as a 
preservative, or else use Benzoinated Lard, which can be 
purchased from any reliable drug or chemical house. 
The names of the following formula; indicate what they 
are to be used for. As to the procedure to be followed in 
manufacture, many books are already available on this 
subject. In general, the solid waxes should be first 
heated in the oils until thoroughly dissolved and mixed, 
then the water should be stirred in gradually and the 
other ingredients added afterwards with continued stir¬ 
ring. 

GLYCERINE—LANOLIN CREAM 


Boric Acid ... 20 grams 

Glycerine . 18 “ 

Distilled Water.. 10 “ 

White Petrolatum. 20 “ 

Lanolin... 50 “ 

Oil of Neroli _ 2 drops 

Oil of Bergamot . 3 “ 

Oil of Lemon. 3 11 

CAMPHOR COLD CREAM 

White Wax... 28 grams 

Sweet Almond Oil . ...450 “ 

Oil of Rosemary _ 2 “ 

Spermaceti Wax.. 28 “ 

Gum Camphor . 60 “ 

Oil of Peppermint .. iy 2 “ 

Rose Water .430 “ 

















RAW MATERIALS 


89 


CAMPHOR—ICE CREAM 

WTiite Petrolatum .... 80 grams 

Paraffine Wax .. 50 “ 

Gum Camphor__ 20 “ 

Above ingredients to be melted together. 

GLYCERINE—COLD CREAM 

White Wax. 35 grams 

Sweet Almond Oil.. 640 “ 

Rose Floral Oil _._ 5 “ 

Spermaceti Wax... 85 “ 

Glycerine . 185 “ 

CUCUMBER—COLD CREAM 

White Wax. 28 grams 

Sweet Almond Oil .. .450 “ 

Spermaceti Wax. 28 “ 

Cucumber Essence . 60 “ 

Hot, fresh-pressed cucumber sap....434 “ 

VIOLET COLD CREAM 

White Wax. 30 grams 

Sweet Almond Oil.. 450 “ 

Spermaceti Wax. 30 “ 

Floral Oil of Violet. 50 ‘ ‘ 

Rose Water .440 “ 

ROSE COLD CREAM (Tissue Builder). 

White Wax. 75 grams 

Sweet Almond Oil ..500 “ 

Borax .-... 10 “ 

Spermaceti Wax . 75 “ 

Petrolatum (Vaseline) .200 “ 

Floral Oil of Rose... 5 “ 

Rose Water _ ...135 “ 

ROSE COLD CREAM (Soft) 

Cocoanut Oil . 940 grams 

Rose Water . 60 “ 

Bulgarian Oil of Rose... 20 drops 

White Wax. 50 grams 






























90 PRACTICAL USE OP 

ROSE COLD CREAM (Medium Hard) 


White Ceresine Wax--1-10 grains 

Paraffine Oil . 340 “ 

Lanolin (Anhydrous) - 50 

Rose Water ...-----..500 

Oil of Rose.-__ 20 drops 

FACE CREAM (Greaseless) 

Lanolin (Anhydrous) .^00 grams 

Orange Flower Water...200 

Glycerine .—200 

Any Perfume Floral Oil . 25 drops 

POMADE DE BEATJTE ORIENT ALE 

Cocoa Butter. 180 grams 

Spermaceti Wax.360 

Benzoic Acid . 1 

Yellow Beeswax .100 

Italian Olive Oil.-.-.--.360 

Oil of Rose (or Wistaria, Ylang 

Ylang, etc.) .:. 2 “ 


The molten mass should be stirred until cool. This, 
cream should be colored pink with carmine solution. 


BOR-LANOLIN—MILK EMULSION 

Borax .—. 10 grams 

Lanolin.......—100 “ 

Rose Water .890 “ 

Any desired Floral Oil . 5 “ 

When this mixture is heated, an emulsion is formed 
in which the lanolin is very finely distributed and thus 
put in a form to be taken up and absorbed easily by 
the skin. 

LANOLIN CREAM (1) 


Lanolin. 333 grams 

Sweet Almond Oil....300 “ 

Spermaceti Wax. 34 “ 

Water. 333 “ 

Any Floral Oil odor. 4 “ 


























RAW MATERIALS 


91 


LANOLIN CREAM (2) 


Lanolin . 250 grams 

Orange Flower Water. 250 44 

Zinc Oxide... 50 44 

Sweet Almond Oil...250 44 

Sulphnr (precipitated) .180 44 

Floral Oil of Violet... 20 “ 


This mixture, while still warm, should be colored 
pink with Alcannine. Any application of this cream to 
the skin should be followed by powdering. 


LEMON—GLYCERINE—LANOLIN CREAM 


Lanolin .... 

.350 

grams 

Glycerine .. 

.350 

11 

Essence of Lemon. 

. 3 

i i 

Benzoic Acid . 

. 2 

i < 

Olive Oil . 

.175 

(( 

Orange Flower Water. 

.125 

< < 

Oil of Bergamot . 

. 6 

< < 

Eau de Cologne. 

_ 12 

4 ( 


LANOLIN SKIN POMADE 

Lanolin .. 

Cocoanut Oil .. \.... 

Vanillin ....... 

or Menthol... 

GLYCERINE CREAM 


Wheat Starch . 50 grams 

Glycerine . 900 44 

Rose Water . 50 44 

Floral Oil of Rose. 3 44 

Oil of Bergamot . 1 gram 


The starch should first be mixed with the cold rose 
water, the glycerine then added and the mixture stirred 
while heating until it develops into a clear emulsion. The 
rose and bergamot oils are added after the mixture has 
cooled. 


.760 grams 
.235 44 

. 5 44 

1 gram 

























02 


PRACTICAL USE OF 


GLYCERINE JELLY 

Gelatine . .—- 25 grams 

Glycerine . 485 

Rose Water or Orange Flower 

Water .485 “ 

Boric Acid. 5 

Any perfume floral oil. 5 

The gelatine and boric acid are first dissolved in the 
heated water and the glycerine added after cooling. The 
floral oil is stirred in after the glycerine. 


GLYCERINE—OIL JELLY 

Spanish Castile Soap. 35 grams 

Sweet Almond Oil.700 

Glycerine .-.256 ‘ * 

Oil of Sandalwood . 3 

Oil of Allspice . 6 

The soap is first dissolved in the glycerine by heating 

and the sweet almond oil, mixed with the other two oils, 
is then gradually stirred in as the mixture cools. 


HONEY-GLYCERINE JELLY ( KALODERMA ) 


White Gelatine . 25 grams 

Honey. 100 “ 

Glycerine .....600 “ 

Rose Water ...275 “ 

Floral Oil of Rose. 5 “ 


The glycerine and rose water are first mixed and 
the honey added and the gelatine dissolved while the 
mixture is being heated. While still warm this prepara¬ 
tion can easily be filled into tubes. 


CREAM FOR RED NOSE 

Precipitated Sulphur_____ 4 parts 

Rice Starch _____ 9 “ 

Zinc Ointment..... 45 “ 

Floral Oil of Rose..... 5 drops 





















RAW MATERIALS 


93 


LIQUID OINTMENT FOR LIVER SPOTS 


Precipitated Sulphur_ 10 parts 

Salicylic Acid _ 5 “ 

Alcohol . 10 “ 

Ether. 25 “ 

Collodion . 45 “ 


The spots should be treated once a day by moisten¬ 
ing with a small camel’s hair brush dipped in the above. 

SPECIAL SULPHUR OINTMENT FOR DANDRUFF 
AND SCALP DISEASES 


Sulphur Flowers...285 grams 

Sweet Almond Oil_ 190 “ 

Benzoated Lard.525 ‘ ‘ 

SPECIAL LIQUID FOR WARTS 

Acetic Acid, Glaciale. 10 parts 

Sulphur Precipitated... 20 “ 

Glycerine . 50 “ 


Warts should be treated daily with this mixture 
until they come off easily. 

LIP STICKS 


Virgin Italian Olive Oil... 54 grams 

Spermaceti Wax... 15 “ 

White Wax . 30 

Oil of Bergamot.. % “ 

Oil of Lemon . % “ 


The white wax and spermaceti are first carefully 
melted together, then the olive oil is added and last the 
essential oils. When cooled off a little, the mixture is 
poured (not too hot) into glass molds or small glass 
tubes, from which it can easily be pushed when com¬ 
pletely cooled. It is then cut with a knife into the de¬ 
sired lengths and wrapped in waxed paper or tin-foil. 
The above formula is for a pale white stick. To color it 
red, add 1/10 gram alcannine, for amber the same 
amount of curcuma and for pink one-half of each. Other 
lip-stick formula? are the following: 


















94 


PRACTICAL USE OF 


(1) Sweet Almond Oil. 

. 60 

grams 

Yellow Beeswax. 

. 39 


(2) White Paraffine Wax. 

. 45 

grams 

Liquid Paraffine Oil. 

. 55 


(3) Benzoated Lard . 

. 50 

grams 

Spermaceti Wax. 

. 25 


Oil of Bergamot. 

i 

Vz “ 

Cocoa Butter..— 

. 75 


Yellow Beeswax. 

. 10 

“ 

Oil of Bitter Almond. 


y 5 “ 


All of these may be colored in the same way as the 
first one described above. 

SOAPS 

Soap-making is essentially a simple operation, and it 
is really surprisingly easy for you to make your own 
soaps but it seldom pays to do so, as excellent soaps of all 
kinds made by experts can be purchased very cheaply. 
It is sometimes desired, however, to obtain an especially 
fine soap for some particular use in hair or skin culture, 
and for this reason alone I am giving a few details. .At 
home my mother used to make a cheap soap for scrubbing 
floors and other household purposes from kitchen residues 
as follows: She would melt and strain about six pounds 
of kitchen fats and, while still warm, would add a quart 
(2 lbs.) of hot water and one pound of caustic potash 
(potassium hydroxide) stirring the mixture well with a 
piece of wood until almost cool. The liquid soap was 
then poured into molds or else allowed to harden in one 
lump and cut in pieces as required. The Pharmacopeia 
of the United States describes hard white soap as made 
from olive oil and sodium hydroxide. Soap-makers, how¬ 
ever, make their product from almost any kind of fat 
or oil with one of the strong alkalis as a saponifying 
agent. Small manufacturers of medicinal or fancy toilet 
soaps use as their base castile soap which is first melted 
and then mixed with other ingredients and water to bring 
the mass to the proper consistency. The finished product 
is then molded or cut to the proper size. A small per¬ 
centage of tallow and alcohol may be added to advantage. 
I am listing below, for your guidance, the average per¬ 
centage of other ingredients usually added to the base 
of melted castile soap: 












RAW MATERIALS 


95 


Balsam Pern .. 10% 

Camphor . 5% 

Boric Acid. 5% 

Borax . 10% 

Menthol . 5% 

Resorcin . 3% 

Salicylic Acid . 3% 

Tannic Acid... 3% 

Tar Oil. 10% 

Sulphur (Precipitated) . 10% 

Thymol. 10% 

Lanolin... 10 to 25% 

Glycerine . 25 to 50% 


To all such soaps a few drops of some floral oil are 
added to give them an agreeable odor. Various essential 
oils, such as Bergamot, Lemon and Lavender, are also 
used to cover disagreeable odors. 

I have in my private files a number of soap formuke 
for Liquid Glycerine Soap, Honey Soap, Almond Soap, 
and a number of others, but it would be going too far off 
the subject to list and describe them all here. I am 
always willing, however, to place them at the disposal of 
my readers upon special request. 


POWDERS 

Powders are used for diversified purposes but prin¬ 
cipally to heal skin abrasions, stimulate inactive skins or 
protect the delicate tissues against outside interference 
of any nature. All basic powders used as ingredients, 
such as starches, talc or magnesia, must be of the highest 
quality. The various coloring matters, such as carmine 
for pink, ochre for rachel and sienna for amber must also 
conform to a high standard of excellence. The use of 
coal-tar dyes in powders or make-ups is not recommended, 
because it is very difficult to remove them from the skin. 
When talcum is used for fine powders, it is of advantage 
to soak same for a few days in vinegar and then dry 
before mixing. This will neutralize any earth alkalis 
which may be present. 















96 PRACTICAL USE OF 


LANOLIN POWDER (FETTPVDER—FAT 
POWDER) 

(1) Lanolin, Anhydrous.. 25 parts 

Italian Talc.-.-850 “ 

Magnesium Carbonate .125 


Floral Oil to perfume as desired. 

The lanolin is first dissolved in ether and this solu¬ 
tion is then mixed with the magnesia. After drying, this 
mixture is finely ground and gradually mixed with the 


talc. 

(2) Lanolin, Anhydrous.-.— 50 parts 

Boric Acid. 20 

Wheat Starch ..-.-.450 “ 

Italian Talc .-.480 “ 

Oil of Winter green. 10 drops 

Aromatic Spirits.. 10 


As in (1) the lanolin is first dissolved in 200 parts 
of ether and then mixed with the starch. After drying, 
the other ingredients are thoroughly mixed in and the 
finished product finely pulverized. 


DEODORANT POWDER 

Borax Powder __ 175 parts 

Tannic Acid _____— 115 

Alum Powder . 115 “ 

Starch ...-. -585 “ 

Oil of Orange Peel ... 10 “ 

SALICYL — ROSE DEODORANT 

Salicylic Acid . 10 parts 

Orris Root Powder. . 200 “ 

Zinc Oxide . 100 “ 

Italian Talcum . 690 “ 

The above is colored pink with a solution of carmine 
in aqua ammonia and perfumed with 

Oil of Rose ....... 1 part 

Oil of Bergamot . % “ 

DEODORANT FOR THE FEET 

Orris Root Powder . 100 parts 

Zinc Oxide . 300 “ 

Italian Talcum . ..600 “ 

Any desired floral oil. 

























RAW MATERIALS 


RICE POWDER 

Orris Root Powder .....100 parts 

Italian Talc ____700 “ 

Rice Starch ____200 “ 

Oil of Rose........ .... 10 drops 

POUDRE DE RIZ {RICE POWDER) 

(1) Orris Root Powder_._____250 parts 

Rice Starch ___750 “ 

Oil of Rose Geranium .... 2 “ 

(2) Wheat or Rire Starch__500 parts 

Talcum (Italian) ..........300 “ 

Orris Root Powder....100 “ 

Magnesia Carbonate....100 “ 

Oil of Lemon ...... 5 “ 

Oil of Rose .... 1 part 


FACE POWDER {WHITE) 

Magnesia Carbonate. 

Italian Talc ... 

Oil of Violet... 

Oil of Rose Geranium 

Oil of Bergamot . 

Oil of Bitter Almond .. 
Tincture of Musk. 

FRENCH WHITE POWDER 

Italian Talc ... 

Oil of Lemon..._. 

Oil of Bergamot .. 


1000 parts 
2 % “ 
2 % “ 


.100 parts 
900 “ 

3 drops 
5 “ 

15 “ 

1 drop 
1 part 


PEARL WHITE POWDER {Healing) 


Italian Talc .. 900 parts 

Zinc Oxide . 50 “ 

Bismuth Subnitrate _ 50 “ 

WHITE POWDER OF PEARLS 

Italian Talc __ 334 parts 

Blanc Fixe _ 500 “ 

Bismuth Subnitrate _ 166 “ 































98 


PRACTICAL USE OF 


POUDRE BE MARECUAL {French) 


Wheat Starch ..-----.350 parts 

Zinc Oxide. .....200 

Orris Root Powder__100 

Italian Talc ...-.—350 “ 

Oil of Rose. 1 part 

Tincture of Musk... 5 drops 


VIOLET POWDER ( German ) 

Italian Talc .... 

Orris Root Powder __ 

Wheat Starch ... 

Zinc Oxide .. 

Floral Oil of Jasmine_ 

Oil of Bergamot .. 

Oil of Rose .... 

Oil of Ylang Ylang _ 

Tincture of Musk . 

ENGLISH VIOLET POWDER 

Rice Starch .... 

Magnesia Carbonate . 

Calcium Carbonate . 

Tincture of Musk . . . 

Oil of Lemon ... 

Oil of Bergamot... .. 

Oil of Lavender .... 

Oil of Orange Flowers .... 

Oil of Rose . 

WHITE POWDER 

Italian Talc . 

Bismuth Subnitrate .... 

Any desired Floral Oil 

MAKE-VP POWDER 

Zinc Oxide _ 350 parts 

Italian Talcum _ 590 “ 

Magnesia Carbonate . 60 “ 

Floral Oil as desired ... 5 “ 


.400 parts 
100 “ 

• 2 % “ 


.775 parts 
. 75 “ 

. 75 “ 

. 10 “ 

. 1 part 

. 2 parts 

. 15 drops 
. 15 “ 

. 15 “ 


.200 parts 
200 “ 
500 “ 

100 “ 

15 “ 



1 drop 
5 drops 

































RAW MATERIALS 


99 


HEAVY MAKE-UP POWDER 

Italian Talcum _______250 parts 

Wheat Starch ___300 “ 

Blanc Fixe___450 “ 


PINK POWDER 

Any white face powder is colored with a solution of 
carmine in aqua ammonia, from two to thirty parts of 
this solution being' used to each 1,000 parts of powder 
according to shade desired. 


RACHEL POWDER 

White Face Powder...985 parts 

French Golden Ochre . 15 “ 

Carmine (not always necessary % “ 


DARK RACHEL POWDER 

White Face Powder_460 parts 

Pink Face Powder _ ...460 “ 

French Golden Ochre... 80 “ 

and/or Sienna . 40 “ 

and/or Burnt Umber. 40 “ 

RED MAKE-UP 

Carmine . 50 parts 

Italian Talcum .950 “ 


The above are thoroughly mixed with a little diluted 
ammonia and, after drying, rubbed into a paste with 5 
parts of sweet almond oil and 8 to 12 parts of mucilage, 
made with gum tragacanth and a little water. 


ROUGE PASTE 

Carmine . 50 parts 

Gum Arabic. 75 “ 

Italian Talcum ..880 “ 


Mix gradually and thoroughly into a paste using 
just enough warm water or, still better, Russian Mineral 
Oil. May then be filled in small porcelain containers. 


















100 


PRACTICAL USE OF 


ROUGE (MAKE-UP) TABLETS 


Carmine .... . ----- 5 parts 

Italian Tale ..-. - 15 

White or Yellow Dextrin --- 25 


Aqua Ammonia __-. 10 “ 

Oil of Bergamot .-.-.-. 5 drops 

Oil of Rose .-.-. - 2 “ 

Oil of Sassafras -- 1 drop 


The Carmine is first dissolved in the ammonia and 
then well mixed with the talcum, dextrin and perfuming 
agents. The whole is then rubbed into a white-sugar 
syrup and spread in a thin layer on glass or polished 
wood. After thoroughly dry, it may be cut into tablets 
of any desired shape or size. The use of such tablets is 
very handy, because they can be rubbed on the moistened 
skin and the color distributed with chamois or powder- 
puff. 


ROUGE EN PASSES 

Carmine - .......... 50 parts 

or Carthmine ...... 50 “ 

Italian Talcum ____890 “ 

Gum Arabic Powder ____ 60 “ 

Oil of Rose to taste. 


Mix with warm water into a dough-like mass and 
put in small forms or cups to dry. 

ROUGE VEGETAL 

Carthamine _____ 100 parts 

Talcum ....... 900 “ 

The carthamine is dissolved in 300 to 400 parts of 
alcohol and the talcum added; the procedure is then the 
same as outlined above. 

BLANC DES PE RLE S, LIQUIDE 
( Liquid Pearl-White ) 


Rose Water ..... 750 parts 

Bismuth Subnitrate .... 250 “ 


Should be well shaken and filled in bottles. To be 
shaken well before using. 

















RAW MATERIALS 


101 


ORIENTAL BEAUTY MILK 

Italian Talc ____-... 85 parts 

Borax .....-. 5 

Glycerine . 75 

Rose Water _750 

Ean de Cologne__—.. 75 

Tincture of Benzoin __ 10 

BLANC DE NEIGE (Liquid Enow White) 

Orange Flower Water.....375 parts 

Eau de Cologne.—.375 

Zinc Oxide__ 200 

Italian Talc...-. 50 

LIQUID WHITE MAKE-UP 

Rose Water .730 parts 

Italian Talc ...— -180 

Bismuth Carbonate. 90 

ROUGE VEGETAL, LIQUIDS 

Carmine .-. 15 parts 

Aqua Ammonia.----- 30 

Floral Oil of Rose..-.- 30 “ 

Rose Water .....—925 


The carmine is first dissolved in the ammonia and 
placed in a rubber stoppered bottle, which is set aside for 
at least 24 hours and shaken frequently. The rose water 
and oil of rose are then added and the mixture again put 
aside for about ten days, being shaken occasionally. It 
may then be filtered and filled into small bottles ready 
for sale or use. This preparation serves especially well 
for coloring the lips. 

GREASY THEATRICAL MAKE-UP (Bases) 

All such make-ups have an ointment or salve base, 
made up as follows: 2 parts Sweet Almond Oil, a little 
Benzoic Acid and one part White or Yellow Beeswax. 
Olive Oil may be substituted for the Sweet Almond Oil. 
Another good base is Hydrous Lanolin, because it is 
quickly absorbed by the skin and, therefore, does not 
look greasy. In the formulae which follow, I shall refer 
to these bases simply as “wax base.” 



















102 


PRACTICAL USE OF 


BED MAKE-UP 

Carmine ....-.- 40 parts 

Glycerine ....... 40 

Wax Base..920 “ 

Perfume as wanted. 

The carmine is first dissolved in ammonia; the gly¬ 
cerine is then added and the mixture heated in a water 
bath until the odor of ammonia has entirely disappeared; 
the other ingredients are then added. 


WHITE MAKE-UP 


(1) Bismuth Subnitrate .-.200 parts 

White Wax . 120 “ 

Oil Sweet Almond.280 

Blanc Fixe.-.400 

(2) Bismuth Subnitrate ..225 parts 

Italian Talc .115 “ 

Wax Base.660 

Perfume Floral Oils as desired. 

(3) Chalk . 8 parts 

Zinc Oxide . 8 “ 

Bismuth Subnitrate . 8 “ 

Alum Plumes. 8 11 

Sweet Almond Oil .. 5 “ 

Oil of Peppermint . Vs part 

Oil of Camphor . Vs “ 

Oil of Bouquet ... 1 “ 

LIGHT BED (Pink) MAKE-UP 

Zinc Oxide . 10 parts 

Bismuth Subnitrate. 10 “ 

Alum Plumes _ 10 “ 

Eosine . 1/25 “ 

Oil of Bouquet ... 1 part 

dissolve in Oil of Camphor. Vs ‘ ‘ 

Oil of Peppermint .. Vs “ 

Sweet Almond Oil.... 4 to 5 parts 




























RAW MATERIALS 


103 


BORDEAUX RED MAKE-UP 

Zinc Oxide .. 15 parts 

Bismuth Subnitrate... 15 

Alum Plumes . 15 “ 

Oil of Camphor ... % part 

Oil of Peppermint . % 

Carmine. % 

dissolved in Ammonia (28°) . 20 drops 

Oriental Bouquet . IV 2 parts 

Sweet Almond Oil. 5% 


FLESH (Skin) COLOR MAKE-UP 
Cinnamon (finely powdered) ... 

Tincture of Saffron .. 

Orris Root Powder. 

Chalk .-. 

Zinc Oxide.-. 

Oil of Camphor . 

Oil of Peppermint. 

Bouquet Floral Oil—. 

Sweet Almond Oil... 

BLACK MAKE-UP 

Soot (obtained by burning camphor 
and cleaned several times with 

alcohol) ... 

Sweet Almond Oil.. 

Cocoa Butter. 

ROUGE ALLOX AN E 

Alloxan .-.-. 10 parts 

Cold Cream .990 

Alloxan is colorless but turns a brilliant pink or red 
when brought into contact with ammonia or its fumes. 
This is the trick of this rouge. When applied to the 
skin, it gradually gives it an excellent pinkish tint be¬ 
cause of the action of the perspiration, which contains a 
slight percentage of ammonia, 

THEATRICAL MAKE-UP STICKS (Pencils) 

The base for these sticks consists of a mixture of 2 
parts Cocoa Butter, 2 parts Ceresine Wax, and one part 


2 parts 
2 “ 

6 “ 


3 parts 
2 “ 

5 “ 

20 “ 

20 “ 
y 3 part 

X “ 

1 y 2 parts 

























104 


PRACTICAL USE OF 


of Olive or Sweet Almond Oil. These ingredients are 
melted together and the coloring agents added in the 
proportions indicated below. The molten mass is then 
poured into glass tubes or molds as described under lip¬ 
sticks, and, after cooling, are sharpened like pencils and 
wrapped in tin-foil. Formula? for the usual colors fol¬ 
low: 

White : Base 900 parts; Zinc Oxide ..100 parts 

Black: “ 900 “ Nigrosine 

(Oil Soluble) 100 “ 

Bed: “ 975 “ Carmine . 25 “ 

Bordeaux: “ 980 “ Eosine . 20 “ 


BASE FOB HAIB POMADES 

(1) Cocoa Butter . -—200 parts 

Olive Oil.100 

Any desired Floral Oil. 

(2) Benzoated Lard.—...725 parts 

Borax . 10 

White Beeswax ..- 75 

Rose Water .200 “ 

The lard and wax are first melted together and 
stirred until almost cool; then the borax is dissolved in 
the rose water and added to the other ingredients. 

(3) Lard . 100 parts 

Ceresine .100 

Cocoanut Oil . 400 

Borax .-... 10 

(Rose) Water .400 “ 

Perfume as desired. 

Prepared like No. (2) above. 

(4) Russian Mineral Oil _ 750 parts 

Ceresine .250 ‘ ‘ 

Floral Oil as wanted. 

Melt together and stir until cool. 

(5) Lard . 500 parts 

Benzoated Lard...-.250 “ 

Cocoanut Oil . ...250 “ 

Floral Oil to sent 






















RAW MATERIALS 


105 


(6) White Beeswax ......200 parts 

Benzoated Lard... .....200 “ 

Italian Olive Oil _ 600 “ 

Floral Oil to suit. 

(7) White Wax ..200 parts 

Benzoated Lard..300 “ 

Castor Oil . 500 “ 

Floral Oil to suit. 

(8) White Wax .100 parts 

Oil of Sweet Almond...300 “ 

Cocoanut Oil . 600 “ 

Floral Oil as wanted. 

(9) Oil of Sweet Almond ..100 parts 

Spermaceti Wax.. 100 “ 

Lard . 800 “ 

Floral Oil as desired. 

(10) Lard .400 parts 

Olive Oil.275 “ 

Tincture of Benzoin. 25 “ 

Lanolin.300 “ 


All of the above may be considered as hair or scalp 
ointments when other ingredients for special purposes 
are added or substituted for the floral oils. Some of the 
more usual for this purpose are camphor, Balsam Peru, 
tannic acid, quinine sulphate and the tinctures of lark¬ 
spur, capsicum or cantharides. Of course the perfume 
or medicating agents should be added only after the 
molten mass has been stirred until thoroughly cool. 


OF DIN ARY HAIR POMADE 


Lard .700 parts 

Ceresine .100 ‘ ‘ 

Borax . 10 “ 

Water . 180 “ 

Pomade Perfume 

(See special formulas. 10 “ 


If pink coloring is desired add 20 to 30 parts of 
carmine solution. 























106 


PRACTICAL USE OF 


POMADE FOR FALLING HAIR 

Cocoa Butter.-560 parts 

Eau de Cologne.100. 

Olive Oil . 290 

Tannic Acid.-. 20 “ 

Quinine Sulphate .—-. 15 

Balsam Peru .- 15 

The last three ingredients are dissolved in the Eau 
de Cologne and added to the others after they are cool. 

EXT RAF IN E HAIR POMADE 

Lard . 900 parts 

Spermaceti Wax. 75 

Benzoic Acid. 10 

Oil of Bergamot... 5 

Oil of Rose Geranium. 1 part 

Floral Oil of Violet... 10 parts 

Oil of Bitter Almond.-.. 1 drop 

Tincture of Musk.----- 5 drops 

Coumarin . % part 

This pomade has to be stirred until cool. 

CHINA HAIR POMADE 

Cocoa Butter. 30 parts 

Lard .850 “ 

Oil of Bergamot . 4 “ 

Ceresine .100 

Balsam Peru . 15 “ 

Oil of Rose Geranium. 1 part 

ROSE POMADE 

Italian Olive Oil....800 parts 

Oil of Rose. 1 part 

Spermaceti Wax.200 parts 

Alcannine . % part 

Should be filled in glass jars while still liquid. 

ICE POMADE 

Castor Oil.. 850 parts 

Spermaceti Wax.150 “ 

Oil of Camphor... 1 part 

Essential Oil as desired. 

Prepared as above. May be colored green with 
chlorophyll or red with alcannine. 






























RAW MATERIALS 


107 


FAMILY HAIR POMADE 

Amber Petrolatum (Vaseline).970 parts 

Ceresine (White or Yellow). 20 

Pomade Perfume . 10 

CUCUMBER POMADE 

Benzoated Lard.800 parts 

Freshly Pressed Cucumber Extract 150 

White Ceresine . 50 

Pomade Perfume . 10 

Color green with chlorophyll. 

HELIOTROPE POMADE 

Cocoa Butter. 066 parts 

Italian Olive Oil.133 

Extra Fine Oil of Heliotrope.100 

Chlorophyll . 1 

Tincture of Musk. 5 drops 

LANOLIN POMADE 

(1) Benzoated Lard.600 parts 

Rose Water . 200 “ 

Lanolin, Anhydrous.200 

Oil of Rose Geranium . 1 

Oil of Bergamot .—- 5 

Tincture of Benzoin. 5 

To color red use either alcannine or carmine solution. 

(2) Lanolin, Anhydrous..880 parts 

Cocoa Butter... 70 “ 

Tincture of Benzoin.. 40 “ 

Balsam Peru .-. 5 

Oil of Bergamot. 1 ‘ ‘ 

Oil of Rose Geranium. % 

PHILOCOME POMADE 

White Beeswax .,.100 parts 

Olive Oil (Italian) .900 “ 

Pomade Perfume.10 to 15 




























108 


PRACTICAL USE OF 


CREME CYDONIA 

Lanolin .320 parts 

Spermaceti Wax .. 80 

Italian Olive Oil...240 

Quince Mucilage.360 “ 


The last named ingredient is prepared by boiling 8 
parts of imported quince seed in 360 parts of water and 
straining or filtering. 


HAIR OILS 

Hair Oils are intended to regulate or supplement the 
work of the oil glands of the scalp and are therefore only 
used on dry scalps. The best of all is, of course, the 
finest grade of pure Italian Olive Oil. Because this is 
so expensive, there are many substitutes made partly 
from olive oil and partly from cottonseed oil, peanut oil 
or other cheaper oils. These substitutes, however, turn 
rancid very easily, so that here, as elsewhere, the best is 
frequently the cheapest. Next to the quality of the basic 
oil, the most important thing in a hair oil is the perfum¬ 
ing which frequently determines the price which can be 
obtained for the finished product. A good perfume com¬ 
bination is the following: 

(1) Oil of Bergamot .....----- 1 part 

Oil of Rose Geranium .. . 

Coumarin . % “ 

Sufficient for 1,000 parts of oil. 

For coloring these oils alcannin is used for red and 
chlorophyll for green. 

BRILLI AN TINES 

Brilliantines serve to give the hair an agreeable gloss 
and to bring out its natural beauty of color and waviness 
especially after shampooing. Just as olive oil is the 
leader among the hair oils, so Russian Mineral Oil is the 
best pure base for brilliantine. It may be colored green, 
violet, pink, red, amber or any other desired color by 
using the proper coloring agent. For perfuming it is 
best to use some heavy odor such as New Mown Hay, 
Lilac, Violet, Jasmine, Wistaria, Carnation or Honey- 










RAW MATERIALS 


109 


suckle. Brilliantines may be filled in attractive one- or 
two-ounce bottles with glass crowns and attractive labels 
for shop sale. Formulae for alcoholic solutions of castor 
oil or Glycerine, serving the same purpose as the mineral 
oil brilliantine, are given below. 


(1) Castor Oil ...-. ..100 parts 

Alcohol.....890 “ 

Floral Oil ........ 10 “ 

(2) Glycerine ... .500 parts 

Alcohol . -__480 “ 

Floral Oil.-.-... 20 “ 

(3) Castor Oil .. -.-. 100 parts 

Alcohol _ 840 

White Neutral Soap----- 10 

Tincture of Benzoin __ 50 

Oil of Bergamot.. 1 

Oil of Rose ....-.—- 5 drops 

(4) Glycerine .-. . 30 parts 

Alcohol .. -__400 “ 

Orange Flower Water . 70 

Oil of Bergamot ... 5 drops 

Oil of Orange Flowers - 1 

LEMON BRILLIANTINE 

Glycerine .-.. 10 parts 

Essence of Lemon... 2y 2 “ 

or Fresh Lemon Juice. 10 

Eau de Cologne. 80 


BANDOLINE 

This is a name applied to a perfumed, slimy liquid 
which is used to keep the hair in a fixed position. The 
formulae follow: 

(1) Gum Tragacanth Powder . 10 to 15 parts 

Eau de Cologne . . 30 “ 

Rose Water . . 060 

The Tragacanth is first dissolved in the Eau de 
Cologne, the Rose Water added quickly and the whole 
well shaken together. 


























110 


PRACTICAL USE OF 


(2) Agar Agar.-.-. 2 parts 

Water . 700 “ 

Glycerine . 300 ‘ ‘ 

Floral Oil of Jasmine........ 10' “ 

Oil of Rose . 2 drops 

Oil of Orange Flowers _ 2 “ 

Tincture of Musk . 2 “ 

FLAIR CURLING FLUID 

(1) Gum Resin. 12 parts 

Alcohol. .....988 “ 

Perfume with a little Oil of Bergamot and Tincture 
of Musk. 

(2) Tincture of Benzoin_ .....180 parts 

Alcohol. 820 “ 

Oil of Rose Geranium... 15 drops 


HAIR TONICS 

These are divided into groups according to the pur¬ 
pose for which they are used, some being intended to 
decrease the activity of the oil glands of the scalp, others 
to prevent dandruff and still others to promote hair 
growth. They are found in liquid, oil or cream form. 
I have made up quite a number of these for clients to be 
used in the treatment of special cases or unusual condi¬ 
tions and in order to protect them, I shall give here only 
standard formulas which are in general use. Upon spe¬ 
cial request I shall gladly give additional recipes for 
tonics to be used for special purposes, such as very oily 
hair, disagreeable perspiration of the scalp, etc. As I 
have said previously, however, scalp treatment is a 
scientific subject which requires a great deal of knowl¬ 
edge both theoretical and practical as well as a close 
study of the individual patient in order to know just 
what to do in every case. There are so many diseases of 
the scalp that every hairdresser ought to give this sub¬ 
ject a good deal of attention. Enough scientific books 
have already been written and authorities in the field are 
always glad to give information for the benefit of the 
profession in general. 

To avoid any possible irritation of a very delicate or 
sensitive scalp, you may even eliminate the" use of any 














RAW MATERIALS 


111 


kind of soap and clean entirely with tea made from soap 
bark. Alcohol is not always a good thing to use, since it 
tends to make the hair lose its gloss and dry out the scalp 
unnecessarily. This evil may be overcome by adding 
glycerine or castor oil to alcoholic washes. In extreme 
cases of dandruff it is a good idea to apply hot oil treat¬ 
ments for a few hours a day previous to the shampooing. 
Such oil treatments usually consist of a mixture of olive, 
castor, or cocoanut oil with crude oil. Sometimes dry 
powders are used, such as orris root, mixed with wheat 
or corn starch and a little salicylic acid. A week solu¬ 
tion of salicylic and carbolic acids is a very good thing 
for excessive perspiration of the scalp. Here, as else¬ 
where, theory combined with practice gives results. 


DANDRUFF LOTION 

(1) Water (or Rose Water)..980 parts 

Potassium Carbonate . 20 “ 

Floral oils to perfume as desired. 

(2) Water (or Orange Flower Water) ..950 parts 

Borax . 50 “ 

Any floral oil. 

(3) Rose Water ......960 parts 

Potassium Carbonate .-. 40 “ 

Yellow of Egg... 12 yolks 

The egg yolks are first beaten with the Potassium 
Carbonate and the water gradually added. 

(4) Glycerine . 125 parts 

Alcohol (diluted) . .—874 “ 

Carbolic Acid.-.-•. l 1 ^ 


All dandruff lotions should be applied to the scalp 
at night with a small sponge. In chronic cases, allow the 
lotion to dry on the scalp and wash off after a few days. 
For coloring, see the chapter on that subject. 


ROSEMARY HAIR LOTION 

Potassium Carbonate . 10 parts 

Rose Water or Distilled Water.740 

Oil of Rosemary. 5 

Alcohol .—.*. 45 

Floral Oil of Rose..... -.200 “ 
















112 


PRACTICAL USE OF 


VEGETABLE SHAMPOOING WATER 


Distilled or Soft Water.540 parts 

Tincture of Soap Bark...110 

Carbonate of Ammonia.. 25 “ 

Tincture of Cantharides.-----. 3 

Bay Rum . 220 

Glycerine . 75 

Borax . 25 

Oil of Rosemary. 1 ” 

Oil of Lavender... 1 “ 


LAUREL HAIR LOTION 

Carbonate of Ammonia 
Essential Oil of Laurel 

Borax .. 

Rose Water__ 

Oil of Rose.. 

LIQUID SHAMPOO ( Vegetable) 

Tincture of Soap Bark. 

Eau de Cologne. 

Glycerine .... 

Alcohol ... 

Rose Water ... 

EGG SHAMPOO CREAM 

Water .. 

Ammonia . 

Cocoanut Shampoo Soap Bas 

Oil of Rose Geranium. 

Oil of Lemon .. 

Yellow of Egg .. 


LIQUID SHAMPOO ( Special) 

Cocoanut Shampoo Soap Base.150 parts 

Alcohol..150 “ 

Soft Water_ 700 “ 


Color a rich amber with tincture of saffron. For a 
more concentrated shampoo, increase the amount of soap 
base 100 parts and decrease the water by the same 
amount. 


.125 parts 
125 “ 

. 60 “ 
.250 “ 
.440 “ 


.650 parts 
. 5 “ 
.345 “ 

. 1 “ 

. 2 “ 

. 8 yolks 


. 25 parts 
3 " 

25 “ 
.946 “ 

1 “ 






























RAW MATERIALS 


113 


HAIR LOTION 

Tincture of Soap Bark (diluted 


1 -TO) .768 parts 

Eau de Cologne. 80 ‘ ‘ 

Tincture of Capsicum... 20 “ 

Glycerine .120 “ 

Carbonate of Ammonia... 12 “ 


Any Floral Oil as desired. 

11 AIR GROWERS 

In the strict sense of the word there is no such thing 
as a hair grower. On the other hand, there is not the 
slightest doubt that rational care and treatment of the 
hair and scalp can produce an active stimulation which 
prevents the falling out of hair, even though it may 
already have become loose. Products or compounds 
which give this stimulation may, therefore be classed as 
“hair growers,” since they assist the growth of hair in 
an indirect way. When the problem is, however, to 
produce an entirely new growth of hair on a head which 
has lost its entire protective covering and become as bald 
as the proverbial billiard ball, it is hopeless of solution, 
since there is, to my knowledge, no cure for such a con¬ 
dition. Furthermore, such a remedy does not appear to 
be a logical possibility, since it would enable us to grow 
hair equally well on our finger nails where there is no 
possible base for hair growth. Vegetable hair growers, 
so called, are found in a wide variety of liquids, salves, 
ointments, creams or pomades but the basic stimulants 
found in practically all of them are the following: 
Quinine Sulphate (from the Cinchona bark), Alum, Tan¬ 
nic Acid, Cantharides, Capsicum, Pilocarpine Hydro¬ 
chloride, and a few others of less importance. The best 
manner of application is in alcoholic solution, since it is 
quickly and easily absorbed by the scalp. Periodical and 
expert application is essential, as otherwise the best and 
most expensive tonics or stimulants will do little good. 
The more important hair-grower formulae are given 
below. 







114 PRACTICAL USE OF 

QUININE HAIR LOTION 

Quinine Sulphate .. 2 parts 

Glycerine . 60 

Eau de Cologne. 120 

Bay Rum . 120 

Rose Water ...-.-.100 “ 

Color red with special red coloring matter. 

IIAIR ALCOHOL 

Eau de Cologne..835 parts 

Tincture of Capsicum .165 “ 

EAU DE QUININE 

Tincture of Cinchona Bark. 50 parts 

Soap Liniment.100 

Tincture of Cantharides. 10 

Eau de Cologne.. ..100 

Balsam Peru. 10 “ 

Oil of Rose Geranium. 1 

Oil of Bergamot. 5 

Diluted Alcohol.824 

Color with Alcannin solution. 

QUININE SCALP STIMULATOR 

Quinine Sulphate . 2 parts 

Tincture of Cantharides . 45 

Alcohol .900 

Tannic Acid. 8 

Balsam Peru . 45 

Perfume with any Floral Oil. 

FRENCH EAU DE QUININE 

Quinine Sulphate . 1 part 

Bay Rum . 100 parts 

Glycerine . .....100 “ 

Eau de Cologne. 10 “ 

Alcohol.100 “ 

Rose Water . 600 “ 

Color with Alcannin solution. 




























RAW MATERIALS 


115 


II AIR LOTION 

Eau de Cologne.180 parts 

Tincture of Nutgalls. 60 

Tincture of Cantharides .. 12V2 “ 

Orange Flower Water.740 

HAIR-GROWING ESSENCE 

Castor Oil .. -.200 parts 

Alcohol .-.....785 

Peru Balsam . 10 “ 

Oil of Lavender... 2 

Tincture of Cantharides. 3 11 

HAIR-GROWING ROM AD E 

(1) Balsam Peru ..-.-.. 25 parts 

Cocoa Butter.650 

Olive Oil. —300 

Tincture of Cantharides _ 10 

Tincture of Capsicum. 15 

(2) Carbolic Acid . 20 parts 

Sulphur Flowers.100 

Oil of Bergamot . 10 “ 

Lanolin Anhydrous .300 

Rose Water .435 

Cocoa Butter.135 

(3) Pilocarpine Hydrochloride . 20 parts 

Sulphur, Precipitated ..100 

Quinine Sulphate . 40 

Balsam Peru . 200 

Cocoa Butter.200 

Olive Oil.200 

Lanolin Hydrous.-190 

Orange Flower Water .. 50 

IIAIR-GROWING OIL 

Salicylic Acid. 20 parts 

Tincture of Benzoin. 30 

Neatsfoot Oil.950 

To be shaken well before using. Scalp must be abso¬ 
lutely clean. 































116 


PRACTICAL USE OF 


HAIR DYES 

Hair dyes cannot always be applied without danger 
of injuring the health of the subject. I have, already out¬ 
lined in the first part of this book the many handicaps 
to be encountered by even the most expert hair dyer, 
particularly in the use of liquid hair dyes, many of 
which are likely to contain metallic salts or coal-tar 
derivatives of a very detrimental nature. Some people 
are apt to be harmfully affected by any dyes which con¬ 
tain other than vegetable ingredients, while others are 
injured only by certain chemicals, the use of which is not 
recommended by the health authorities. It is really very 
difficult to draw a line between the harmless and the 
harmful in view of the great variety of conditions en¬ 
countered in this kind of work. If the physical condi¬ 
tion of the subject is perfect in every respect, little 
danger is to be encountered in connection with any of the 
dyes now in use. On the other hand, the slightest ab¬ 
normal nervous or physical condition may change the 
situation entirely and leave the way open to the most 
serious consequences. Government authorities, acting 
through the boards of health of many States, have done 
a great deal of good in eliminating from sale and con¬ 
sumption dangerous dyes, principally those containing 
coal-tar derivatives and lead salts. The dyeing of hair 
is a process of chemical reaction. Materials are used 
which combine either with the oxygen of the air or the 
natural sulphur content of the hair itself to fill the horny 
substance with the coloring compound. The reaction 
with the natural sulphur of the hair is very slow, and in 
order to expedite this process, most dyeing compounds 
contain sulphur in the form of sulphates or sulphonates. 
Among the chemical (inorganic) salts used in hair dyes 
are silver nitrate and various salts of copper, iron, bis¬ 
muth and manganese, these belonging to the class of the 
relatively harmless. The vegetable (organic) group com¬ 
prises pyrogallic acid, tannic acid, extracts of walnut 
shells and nutgalls and, most important of all, the Egyp- 
tion henna leaf. I might mention here that any hair will 
gradually become darker if continually treated with 
washes of tannic acid and will lighten if treated in the 
same way with vinegar or very dilute acid solutions. 


RAW MATERIALS 


117 


The details of the process of hair dyeing are too well 
known to yon to require detailed description here. Be¬ 
fore proceeding with the various formulae, I wish to refer 
you to the recipes for the use of para-phenylene-diamine, 
given in the first part of this book. 

WALNUT EXTRACT 

The sap of freshly picked walnut shells is extracted 
by boiling in water to which a little alcohol has been 
added. This old fashioned, home recipe may be used to 
produce shades ranging from chestnut brown to very 
dark brown. 

WALNUT SHELL EXTRACT 

Green walnut shells are left for four weeks in a 
solution of two parts of water and one part of aqua am¬ 
monia. This extract is then boiled down to a thin syrup, 
to two parts of which one part of diluted perfume alcohol 
is added. To intensify the coloring effect, add a little 
pyrogallic acid; the more you add the darker the result¬ 
ing shade will be. 

EGYPTIAN HENNA 

A full description of this important coloring agent 
has been given in the first part of this book to which I 
refer you. 

PYROGALLIC ACID 

In alcoholic solution of from two to three per cent 
this acid serves in itself as a dye to produce a more or 
less chestnut brown shade. The process is a very slow one 
unless an alkaline solution is used afterwards to hasten 
the oxidizing process. Any brownish spots on the skin 
resulting from the use of this solution may be removed 
with citric acid, solution or any other very dilute acid, 
even lemon juice will do the trick. In connection with 
metallic salts, pyrogallic acid is a very important mordant 
in securing dark brown to jet black shades. 


118 


PRACTICAL USE OF 


BLACK HAIR DYE 

Pyrogallic Acid .. 3% parts 

Glycerine with 20% Boric 

Acid . 11 “ 

Citric Acid.... 3/10“ (0.3) 

Distilled Water.100 

Wash the hair in the morning with a weak solution 
of Bicarbonate of Soda and apply the dye in the even¬ 
ing with a small brush. The amount of Pyrogallic Acid 
may be increased if a very dark color is desired. 


HAIR DYE (Two Application) 

(a) No. 1. A 10% solution of chemically pure Iron 
Sulphate. 

No. 2. A 2% solution of Pyrogallic Acid in 
Alcohol. 


(b) No. 1. Same as above. 

No. 2. A weak solution of Potassium Sulphate 
or Ammonium Sulphate. 

Any spots resulting from dyes containing iron salts 
may be removed with a solution of oxalic acid or other 
dilute acids. 


MANGANESE HAIR DYE 

In looking over my recipes, I found the following 
which may be of interest to the expert. We know that, 
when Permanganate of Potash comes into contact with 
organic matter, a dark brown Manganese Dioxide is 
developed. This is the basis of this dye. First wash the 
hair thoroughly and then apply a one per cent solution 
of Permanganate of Potash once or oftener according to 
the darkness of the shade desired. To obtain a more last¬ 
ing and brilliant shade, the hair should first be treated 
with a weak solution of Potassium Sulphide. 

HAIR DYE (One Application) 


Bismuth Subnitrate _ 5 parts 

Sodium Thiosulphate. 10 “ 

Distilled Water. 85 “ 









RAW MATERIALS 


119 


BISMUTH HAIR DYE 

50 parts of bismuth and 100 parts of powdered 
cream of tartar are cooked for half an hour in 600 parts 
of water and then allowed to settle for five minutes. Pour 
off the liquid solution and put it aside. To the remain¬ 
ing sediment add again 400 parts of water and boil. 
Now mix both solutions together, filter and add enough 
sodium hydroxide to give the resulting solution a weak 
alkaline reaction on litmus paper. The finished product 
may be perfumed as desired and a little glycerine may 
also be added. To assist the oxidizing process on the hair 
a weak solution of pvrogallic acid may be applied first. 


HAIR DYE POMADE 

For a dye of this kind it is best to use a 10% mixture 
of Bismuth Subnitrate with any of the pomade bases 
described elsewhere. 

SILVER ( NITRATE) HAIR DYES 

It is a well known fact that silver nitrate, when ex¬ 
posed to light, blackens organic matter with compara¬ 
tive rapidity. The application of this chemical alone is 
not, however, recommended, because the resulting shades 
will vary too much to be of any practical value. We are 
therefore forced to rely for assistance upon mordants 
which contain pyrogallic acid or alkali-sulphonates. Spots 
on the skin caused by silver nitrate may be removed with 
a strong solution of sodium iodide. Nitrate of silver may 
be employed to best advantage in ammoniated solution, 
prepared by using first half of the required amount of 
distilled water and then adding ammonia until the 
brownish precipitate in the water is completely dissolved, 
finally adding the rest of the distilled water. To protect 
silver nitrate and its compounds from decomposition by 
sunlight, it should always be kept in dark (amber) 
bottles. Like all other dye formulae given herein the fol¬ 
lowing are of standard or average strength. For lighter 
shades weaker solutions should be employed and for 
darker shades and black the solutions should be made 
stronger. Further variations may be obtained by using 
the mordants, pyrogallic acid and potassium sulphide, 


120 


PRACTICAL USE OP 


interchangeably. The following are practical, two-appli¬ 
cation, silver nitrate hair dyes: 

BLACK 

No. 1. 15% solution of Silver Nitrate. 

No. 2. 10% solution of Potassium Sulphide. 

DARK BROWN 

No. 1. 10-15% Silver Nitrate solution. 

No. 2. 2% solution of Pyrogallic Acid in dilute 

alcohol. 

BROWN 

No. 1. 5-8% solution of Silver Nitrate. 

No. 2. 5% solution of Potassium Sulphide. 

LIQUID BLACK DYE (Coal Tar) 


Para-Phenylene-Diamine. 3 oz. 

Alcohol .-. 1 qt. 


For lighter shades use less Para-Phenylene-Diamine. 
(See first part regarding the dangers in connection with 
the use of this dye.) 

HAIR COLOR RESTORER 


Distilled Water. 1 gal. 

Alcohol (95%) . 1 “ 

Pyrogallic Acid . 8 oz. 


HAIR COLOR DARKENER 

A fully saturated solution of Iron Sulphate in 
strong, ordinary tea for light shades or in strong coffee 
for darker colors. To be applied diluted as a rinse or 
where desired with a sponge or cotton. 

IIAIR DYE REMOVER 

As previously explained, any weak acid solution 
(although detrimental to the hair) will remove color and 
lighten the hair. A two to four per cent solution of 
hydrochloric acid in chamomile tea will give a base which, 
before using, should be diluted with at least five parts 
of water. The application should be made very rapidly 
and with great care because the acid eats into the horny 
substance of the hair, and a thorough rinsing, shampoo¬ 
ing and second rinsing should follow immediately. The 







RAW MATERIALS 


121 


operation may be repeated if no results are evidenced. 
To lessen the harmful effect on the hair a good grade of 
olive oil should ^e applied immediately after drying, and 
the hair left alone for at least a week before any further 
dyeing attempts are made. 

DYEING OF DEAD HAIR ( Switches , etc.) 

Refer to the chapter on Dyes, especially to the sec¬ 
tions on Catechu and Logwood. 

BLEACHING OF HAIR 

There are no formulae aside from the general outline 
of procedure as given in the chapters on Bleaches and 
Packs. 

DEPILATORIES 

The beauty profession is frequently called upon to 
remove or destroy undesired hair growth. It is not my 
object to recommend one method or the other and I am 
simply listing the following formulae as the bases of more 
or less all depilatories whether in paste powder or wax 
form. If the paste form is preferred, simply add enough 
water or rose water to the other ingredients to make a 
paste. If, on the other hand, a depilatory wax is desired, 
use melted yellow beeswax instead of water, applying 
hot and allowing to cool and harden on the skin. The 
application in either form lasts from five to thirty min¬ 
utes until the parts become a little sore. The application 
should be followed with a thorough cleansing and massage 
with good cold cream, massage cream or skin pomade. 

(1) Sodium Sulphide ..—125 parts 

Precipitated Chalk . 100 

Aqua Calcis.300 

Wheat Starch .-.-. 25 “ 

(2) Calcium Sulphide . 20 parts 

Glycerine Ointment (or similar). 10 

Starch. 10 

Oil of Lemon. 10 drops 

(3) Calcium Sulphide.. f in equal parts, 

Kaolin... < enough to 

Water ......( make a paste. 













PRACTICAL USE OP 


122 


(4) Sodium Sulphide . 10 parts 

Precipitated Chalk. 15 

Kaolin.. 15 

Water to make a paste. 

(5) Strontium Sulphide . 50 parts 

Kaolin. 50 “ 

Water to make a paste. 


PERFUMERY 

This subject may or may not belong here, and I am, 
therefore, selecting from a mass of data which I have on 
hand only a few items which I believe may be of parti¬ 
cular interest. 

SMELLING SALTS ( Powder ) 

Ammonium Chloride .-. 50 parts 

Burnt Powdered Lime or Pre¬ 
cipitated Chalk . 50 

Oil of Bergamot . 3 

Oil of Rose Geranium. 1 

Oil of Cloves . 5 drops 

Oil of Mace . 5 “ 

SMELLING SALTS ( Crystals) 

Mix in a closed container 3 parts Ammonium Car¬ 
bonate and one part Aqua Ammonia (28°). Place aside 
for five days and chop into small pieces of crystal size. 
Perfume with the same oils detailed above. 

SMELLING SALTS ( Liquid ) 


Aqua Ammonia (28°).1000 parts 

Oil of Lavender.-. 3 “ 

Oil of Bergamot -- IV 2 “ 

Oil of Mace..... 1% “ 

Oil of Rosemary ____ 3 “ 

Oil of Cloves__ iy 2 “ 


If Tincture of Benzoin is added, the above will be¬ 
come milky. 



















RAW MATERIALS 


123 


PERFVME OIL FOR POMADES, CREAMS, Etc. 


(1) Oil of Petitgrain _ 200 grains 

Oil of Lavender. 100 

Oil of Cloves . 40 

Oil of Jasmine (Floral) ....... 30 “ 

Oil of Rose Geranium... 100 “ 

Oil of Bergamot .300 

Oil of Violet (Floral) . 30 “ 

Alcohol. 200 “ 

(2) Oil of Bergamot ..-.560 grams 

Oil of Lemon .275 

Oil of Petitgrain .165 “ 

Alcohol as wanted. 

(3) Oil of Bergamot .-600 grams 

Oil of Rose Geranium__100 

Oil of Lemon .-..300 

Tincture of Musk . 10 

Alcohol as wanted. 

HONEY ODOR 

Oil of Lemon .500 grams 

Oil of Petitgrain .500 

ROSE ODOR 

Oil of Rose Geranium.835 grams 

Oil of Lemon . ..165 

PINE ODOR 

Oil of Pine Needle ...140 grams 

Oil of Juniper (Berries) . 20 * 

Oil of Lavender. 10 

Oil of Thyme . 10 


There are an almost infinite number of other com¬ 
binations for various uses which I shall be glad to furnish 
upon request. 


In the formulae which now follow I am giving you 
some ‘‘odds and ends’’ which may or may not prove of 
value but which frequently come in very handy. They 
are somewhat scattered and mixed, as I have simply set 
them down as picked up at random from my own formula 

























124 


PRACTICAL TJSfe OF 


books. Some of them, such as the permanent hair waving 
lotion and the creams, pertain directly to the profession, 
and others are simply of general value to-the “handy” 
person. 

EFFERVESCENT POWDER 


Bicarbonate of Soda- 10 parts 

Tartaric Acid Powder - 9 “ 

Powdered Sugar. 19 


May be aromatized with Oil of Lemon, Peppermint, 
etc. Mix well and keep in a cool dry place. Makes a 
harmless and cooling drink in Summer, one teaspoonful 
to a glass of water. 

LACQUER FOR WINDOW LABELS 

First dissolve 30 parts of Gum Dammar in 180 parts 
of Acetone. After allowing a few days to clear of sedi¬ 
ment, take only 4 parts of this solution and mix with 3 
parts of Collodion. Keep the rest on hand for future 
use in a well stoppered, dark glass bottle. 

MUCILAGE FOR LABELS AND GENERAL USE 


Yellow Dextrine .-.225 parts 

Water . 555 

Dilute Acetic Acid.-......110 

Dilute Alcohol . ...110 

GLUE FOR LABELS ON TINS, Etc . 

Dextrine .400 parts 

Glucose . 20 “ 

Glycerine . 50 “ 

Water . ..600 “ 

Aluminum Acetate Solution . 10 “ 

NAIL POLISH POWDER 

Pumice Powder (extra fine).. 50 parts 

Talcum . 10 “ 

Zinc Oxide... 40 “ 

















RAW MATERIALS 


125 


SKIN FOOD 

White Beeswax . 1 oz. 

Spermaceti Wax . 1 “ 

Lanolin . 2 “ 

Cocoannt Oil . 2 “ 

Oil Sweet Almond. 4 “ 

Orange Flower Water. 4 “ 

Boric Acid ... *4 “ 

Tincture of Benzoin... 5 drops 


Melt the oils and waxes together in a double boiler. 
Remove from the fire and beat until cold, gradually add¬ 
ing the Orange Flower Water in which the Boric Acid 
has been dissolved. Add the Benzoin last of all. 


COLD CREAM 

White Beeswax . 5 ozs. 

Mineral Oil... 16 “ 

Distilled Water . 8 

Borax... % “ 


Perfume as desired. 

Melt the wax, add the oil and bring the mixture to a 
temperature of 130° to 140° F. Dissolve the borax in the 
water and when at same temperature as the wax and oil 
mix them together and beat well for half an hour. Finally 
add the perfume and pour into jars at 110° to 120° F. 


MASSAGE CREAM 

Corn Starch Powdered .-. 60 parts 

Cocoa Butter.----- 12 

Greaseless Cream (below) —. 12 

Powdered Castile Soap - 3 

Water _ 240 “ 

Perfuming Oils to taste.. 1 

Bichloride of Mercury.. % l \ 

Color as desired. 

Greaseless Cream for Above Formula 

(a) Stearic Acid .. 4 parts 

Glycerine .-. % 

Water _ 4 “ 

(b) Sal Soda .-...-.. 1 part 

Water... 8 parts 


Add (a) to (b) both hot, then stir until cold. 


























126 


PRACTICAL USE OF 


Directions: Heat the Corn Starch and water in a 
double boiler to about 150° F., stirring constantly until 
you have a good thick paste. Then over direct heat melt 
together the Cocoa Butter and Greaseless Cream. Stir 
into this an equal amount of the thickening starch paste 
until you get a smooth mass, and transfer this mixture 
back to the balance of the starch paste, stirring all to¬ 
gether. Then put aside until cool and sift in the powdered 
soap and Bichloride of Mercury, add the coloring and 
perfuming agents and fill into jars. 


VANISHING CUE AM 


Stearic Acid.. 

Castor Oil__ 

Glycerine . 

Ammonia (26°-28°) 

Water .. 

Alcohol . 

Perfume Oil.-. 


6 ozs. 

1 “ 

4 “ 

% “ 

2 pints 
2% ozs. 

y 4 “ 


Melt the Stearic Acid and Castor Oil, then add the 
Glycerine and heat to 180° F. Then heat the water to 
180° F. and, at the last moment before adding the Stearic 
mixture, add the Ammonia to the water, then mix the 
Stearic mixture with the Ammonia and water, stirring 
slowly and enough to cause saponification, but not too 
briskly or the pearly effect will be destroyed. When the 
temperature has been reduced to about 120° F., add the 
alcohol and perfume and fill at once into tubes or jars, 
I have tested this cream for over six months and find that 
in closely covered jars there will be no shrinkage or de¬ 
terioration. 


CREAM CUCUMBER AND ROSES 


Gum Tragacanth Ribbons . 30 parts 

Glvcerine . 165 “ 

Alcohol . 165 “ 

Benzoic Acid. 1 “ 

Fresh Cucumber Juice. 5 “ 

Water or Rose Water. 1300 ‘ ‘ 

Rose Perfume as desired. 















RAW MATERIALS 


127 


Mix the Tragacanth with about one-third of the 
water and allow it to stand for 24 hours. When it ap¬ 
pears to have swollen as much as possible, add the other 
ingredients and strain through a double cheesecloth two 
or three times until it appears to be of even consistency. 


LIQUID ALMOND CEE AM 


(a) Quince Seed... 15 parts 

Cold Distilled Water....385 “ 


Let stand over night and then strain through 
silkoline without pressure. Do not use hot 
water as this removes the brown color from 
the seed and discolors the cream. 


(b) Glycerine ..136 parts 

Spermaceti Wax . 40 “ 

White Beeswax . 5 “ 

Melt together in a double boiler. 

(c) Castile Soap . 60 parts 

Powdered Borax. 10 “ 

Distilled Water...256 “ 

Dissolve the soap in the water and bring to 
a boil; then add the borax. 

(d) Witch Hazel .... 70 parts 

Alcohol ...:.192 “ 

Salicylic Acid . 2 “ 

Perfume Oil as desired. 5 “ 


Directions: Have (b) and (c) as hot as possible. 
Add (c) to (b) and stir for fifteen minutes. Add (a) and 
stir for three or four minutes, then add 835 parts of boil¬ 
ing water. Stir briskly for an hour or longer if possible 
and add (d) after the mixture is cold. 


SOLID BRILLIANTINE 

This can easily be made by melting together about 
equal parts of white or yellow beeswax and petrolatum 
of any desired color, stirring floral oil to taste and filling 
into glass jars while still warm. 














128 


PRACTICAL USE OF 


PERMANENT WAVING LOTIONS 

These lotions, intended for use with the permanent 
hair waving machines, are practically all built up on an 
alkaline base and contain sodium salts, such as borax, 
and hyposulphite of soda (sodium thiosulphate) together 
with glycerine to counteract the sharpness of the alkali 
when applied with the borax pads and electric heat. 
Formulae vary with the different systems now in vogue. 
An analysis of one expensive liquid showed the follow¬ 
ing: 


Water . 80.04% 

Glycerine...... 12.98% 

Sodium Carbonate.-. 5.52% 

Borax. 1.12% 

Sodium Thiosulphate . 0.34% 


In other preparations the percentage of the last 
named ingredient is much higher. Borax has a compara¬ 
tively low solubility in cold water but dissolves fully in 
hot water and recrystallizes when the water cools, causing 
a contracting within the hair which produces the wave 
but at the same time makes the hair brittle. Another 
fluid examined contained sodium silicate which has prac¬ 
tically the same effect as borax. All of these prepara¬ 
tions, however, serve their purpose, provided they are 
made by reliable houses on which you can fall back in 
case of difficulties. 

HAIR WHITENER 

I am told that a sodium sulphite solution in camphor, 
when added to a shampoo, will make white hair still 
whiter and take away any yellowish tint, but I have not 
actually tried out this recipe. 

MUD PACKS 

These are usually mixtures of Fuller’s Earth, Orris 
Root Powder, Almond Meal, Precipitated Chalk and 
Kaolin as bases with the following ingredients added in 
smaller degree, according to the purpose of the pack: 
Talcum, Carbonate of Potash, Gum Tragacanth Powder, 
Powdered Castile Soap. Benzoate of Soda, Rice Starch, 
Bicarbonate of Soda, Sodium Perborate (for bleaching), 
Balsam Peru, Tincture of Benzoin, Glycerine, Alcohol, 







RAW MATERIALS 


129 


Essential Oils, Sweet Almond Oil and, last but not least, 

Witch Hazel. The formulas vary widely but the above 

are the most important ingredients. 

HENNA SHAMPOO POWDER 

White Neutral Powdered Soap 

(Castile Soap Powder). 2 parts 

Egyptian Henna Powder . 1 “ 

Soap Bark Powder... *4 “ 

Mix well and put through a fine mesh sieve. 

CHAMOMILE HAIR TONIC 

Chamomile Tea . 3 parts 

Peroxide of Hydrogen U. S. P. 1 “ 

Bay Rum . 3 “ 

W T ater . 2 “ 

Witch Hazel . 1 “ 

CHAMOMILE SHAMPOO 

Chamomile Tea. 3 parts 

Cocoanut Shampoo Base. 1 “ 

Dissolve the soap base in the tea. 

LIQUID HENNA SHAMPOO 

Henna Tea (made from whole 

leaves) . 3 parts 

Cocoanut Shampoo Soap Base. 1 “ 

Dissolve same as above. 

SAGE TEA SHAMPOO 
Prepared same as above. 

SALICYLIC TALCUM POWDER 

Salicjdic Acid Powder. iy 2 parts 

Almond Meal. 5 ‘ ‘ 

Italian Talc.43% “ 

CORN COLLODION 

Salicylic Acid .... 10 grams 

Extract of Cannabis. 1 “ 

Collodion .150 “ 




















130 


PRACTICAL USE OF 


ZINC-SULPHUR OINTMENT 

Zinc Sulphate Powder . 50 grams 

Sulphur ..—- 50 

Lanolin -. 400 


WHITE OINTMENT OR HAIR POMADE BASE 

White Wax. 30 parts 

Lard .750 

Rose Water .-200 “ 

Borax . 25 

Essential Oil . 30 


add one drop or more of Alcannine solution. 

ZINC OINTMENT “PROFESSOR LASSAR” 

Zinc Oxide ...250 parts 

Almond Meal.-.250 

White Petrolatum.. 500 

If amber color is desired, use amber petrolatum in 
place of white. 

LANOLIN CREAM 

Lanolin Hydrous.-. 640 grams 

Russian Mineral Oil- .....157 

White Ceresine . 45 

Rose Water ...—*.135 

Borax . 5 “ 

Perfume Oil as desired... 10 

Dissolve the borax in the rose water; melt the other 
ingredients together and then stir the two mixtures into 
each other, adding the perfume oil when cool. 

COLD CREAM 

(1) White Wax ____-. 7 parts 

Spermaceti Wax. 8 

Sweet Almond Oil. 57 

Orange Flower Water. 28 























RAW MATERIALS 


131 


Both waxes are first melted together, then the oils 
are stirred in and the water added last. Perfume with 
a few drops of any essential or floral oil when cool. 


(2) White Wax . 135 grams 

Spermaceti Wax. 75 

White Petrolatum. 540 

Rose Water .180 

Borax ..... 12 


First heat the waxes and oils together, then stir in 
the rose water in which the borax has been dissolved. 
Perfume when cool with a few drops of floral oil. 


(3) White Wax ... 80 grams 

Spermaceti Wax .—. 80 

Sweet Almond Oil ...560 

Distilled Water..........280 “ 


Prepare and perfume as above. To make the above 
very white add a few drops of Indigo Tincture (blue¬ 
ing) . For pink color use a little alcannine solution. 


(4) Lanolin. 100 grams 

Sweet Almond Oil.... 90 

Spermaceti Wax.,. 10 

Water (Rose) . 1/200 

Vanilla Essence. 2 

Oil of Rose Geranium . 5 drops 

(5) Benzoated Lard.-. 2 parts 

Lanolin Anhydrous . 1 “ 

Rose Water . 3 

(6) White Wax. 60 grams 

Sweet Almond Oil .420 

Spermaceti Wax. 60 

Lanolin.180 

Borax . 5 

Orange Flower Water.280 “ 

Oil of Bergamot. 1 

Oil of Rose .. 1 “ 

Oil of Ylang Ylang. 3 drops 

Essence of Vanilla . 5 “ 






























132 


PRACTICAL USE OF 


SAL1CYL COLD CREAM 


White Wax .100 grams 

Sweet Almond Oil.600 

Spermaceti Wax...100 “ 

Rose Water .100 

Salicylic Acid . 10 “ 

Glycerine . 100 “ 


Perfume as desired. 

The Salicylic Acid should be dissolved in the Rose 
Water or Glycerine before being added to the other 
products. 

GLYCERINE COLD CREAM 

Decrease the amount of Rose Water in the above 
formula and increase the amount of Glycerine propor¬ 
tionately. 

CAMPHOR COLD CREAM 

To any cold cream formula add 5% of very finely 
powdered gum camphor. 

VASELINE COLD CREAM 

In this preparation vaseline is substituted for a part 
of the sweet almond oil in any cold cream formula. The 
amount of borax must also be increased to bind and hold 
the water. 

ZINC OINTMENT ( Ordinary) 


Lard (or Benzoated Lard). 9 parts 

Zinc Oxide. 1 “ 

OINTMENT BASE (Z7. S. P.) 

White Wax.200 grams 

Benzoated Lard.800 ‘ 1 


Melt the wax, add the Benzoated Lard and heat 
gently until liquefied; then stir the mixture until it con¬ 
geals. In warm climates take 50 grams less of lard and 
replace with wax. 


TAR OINTMENT ( TJ.S.P .) 

Tar or Pitch.500 grams 

Yellow Beeswax .150 “ 

Lard or Benzoated Lard.350 “ 















RAW MATERIALS 


133 


Melt the wax, add the lard and then stir in the tar, 
which has been previously melted; strain through muslin 
or cheesecloth and stir until it congeals. 

SULPHUR OINTMENT (U.S.P .) 

Sublimed Sulphur ....150 grams 

Benzoated Lard ...850 “ 

ZINC OINTMENT (U.S.P.) 

Zinc Oxide .......200 grams 

Benzoated Lard...800 “ 

Rub the Zinc Oxide into a part of the warmed lard, 
gradually adding the rest until they are thoroughly 
mixed. If necessary, strain the ointment while warm and 
stir it until it congeals. 

HAIR STRAIGIITENER (For Kinky Hair) 

Glycerine . 1 part 

Beeswax or Paraffine. 4 parts 

Petrolatum (Vaseline) .10 “ 

Olive Oil . 2 “ 

Castor Oil.. 1 “ 

Oil of Sage . i/ 2 “ 

HAIR GROWER TONIC 

Resorcin . 20 grams 

Eau de Cologne. ..1000 “ 

Pilocarpin Hydrochloride . 1 “ 

Oil of Lavender. 9 drops 

DEPILATORY PASTE 

Calcium Sulphide. 20 parts 

Wheat Starch . 10 “ 

Glycerine Ointment . 10 “ 

Perfume with Oil of Bergamot. 

Rose Water to make a paste. 

LIQUID HAIR DYE (2 Application) 

, (1) Pyrogallic Acid . 1 part 

Alcohol 80% . 8 parts 

(2) Silver Nitrate . 8 parts 

Copper Sulphate. 1 “ 

Distilled Water.•. 32 “ 
























134 PRACTICAL USE OF 

HAIR POWDER (Dry Shampoo) 


Orris Root Powder... 20 parts 

Italian Talc..... 30 “ 

Almond Meal. 50 “ 

ODORLESS DISINFECTANT 

Alum. 10 parts 

Sodium Carbonate . 10 “ 

Ammonium Chloride . 2 “ 

Sodium Chloride. 2 ‘ ‘ 

Zinc Chloride . 1 “ 

Hydrochloric Acid diluted with 
sufficient Water.100 4 ‘ 


Dissolve the Alum in about 50 parts of boiling water 
and add the Sodium Carbonate. Dissolve the resulting 
precipitate in just sufficient Hydrochloric Acid and add 
the other ingredients previously dissolved in the rest of 
the water. 


FURNITURE POLISH {Cream) 


Yellow Wax .. 3ozs. av. 

Potassium Carbonate ...160 grains 

Oil of Turpentine ... 4 fl. dr. 

Oil of Lavender Flowers . 80 m. 

Sufficient Water. 


Boil the wax in 16 fluid ounces of water over a direct 
fire, adding the two oils; stir until cool and add enough 
water to make 32 fluid ounces. In using this cream apply 
with a woolen cloth and then rub with a piece of linen 
until the surface has acquired a polish. 


CELLULOID INK 


Acetone .. 4 fluid oz. 

Dry Iron Chloride . .. 3 drams 

Tannic Acid .. . 4 y 2 “ 


Dissolve the Iron Chloride and the Tannin each in a 
portion of the Acetone; then mix the two solutions. 


















RAW MATERIALS 


135 


MARKING INK BLACK 


Gelatine. 16 grains 

Potassium Bichromate _ 16 “ 

Nigrosin (water sol.) .. 80 “ 

Water.—. 8 fl. ozs. 


Dissolve the Nigrosin and Gelatine in most of the 
water and the Potassium Bichromate in the remainder. 
Then mix the two solutions in an amber colored bottle. 


SHOW CARD INK 


Bleached Shellac___ 2 oz. av. 

Borax ....._.. 2 “ “ 

Water .. 16 fl. 0 z. 


Rub the Shellac and Borax together in a, mortar until 
reduced to a fine powder; then place the mixture in an 
enameled vessel and add the water; boil the whole to¬ 
gether until it begins to foam, remove from the fire and 
allow to cool. Repeat this boiling process until all of 
the Shellac is finally dissolved; then strain through 
cheesecloth. For black color, add to this base Nigrosin 
or Lamp-Black, with a little finely powdered Indigo to 
produce a blueish jet-black. 


VERMIN EXTERMINATOR ( Poisonous) 

Corrosive Sublimate_ 1 oz. av. 

Wood Alcohol . 24 fl. oz. 

Oil of Cedar _ 1 “ “ 

Oil of Turpentine . 8 “ “ 

Dissolve the Sublimate in the Alcohol and add 
the oils. 


MOSQUITO CHASER 


Turpentine. 2 gal. 

Oil of Pennyroyal . 4 fl. oz. 

Oil of Sassafras . 4 “ “ 

Oil of Birch Tar . 4 “ “ 


Mix well together and use as a spray. 

















136 


PRACTICAL USE OF 


MIRROR , GLASS AND SILVER POLISH 


Best Paris White. 2 lbs. 

Precipitated Chalk . 1 

Finest Fossil Flour. 1 ‘ ‘ 

Powdered Magnesia Carb. 1 

Hyposulphite of Soda. % ‘ ‘ 


See that all ingredients are finely powdered; then 
mix well together. Apply with a soft, wet flannel and 
rub off with a dry flannel or chamois. 

LIBRARY PASTE 

Corn Starch. 2 oz. av. 

Gelatine. % “ “ 

Water. 16 fl. oz. 

Oil of Clove . 16 drops 

Mix the starch well with the water, add the gelatine 
and heat the whole on a water bath (double boiler) until 
a uniform, jelly-like compound results; when nearly 
cold, stir in the oil. 


SOAP SOLUTION 

Best Cocoanut Oil.-. 3% pints 

Caustic Potash . 12 oz. 

Wood Alcohol. 31 pints 

Water. 3 gals. 


Place the oil in a vessel; add 16 oz. of the Alcohol; 
dissolve the Caustic Potash in 16 oz. water; mix over low 
heat; add the remaining Alcohol and then the 3 gallons 
of water. 

LIQUID SOAP “SPECIAL” 


Refined Cocoanut Oil... 4 lbs. 

Caustic Potash. 1*4 ‘ ‘ 

Cold Water ... 5 “ 

Eau de Cologne. 1 “ 

Glycerine . 1 “ 

Hot Water ... 4 to 5 gals. 


Dissolve the Caustic Potash in the cold water which 
will get warm through chemical reaction. Let it stand 
until perfectly cool. Heat the Cocoanut Oil to about 
165° F.; re-heat the Potash solution to the same tem¬ 
perature ; then pour the warm oil into the Potash solution 





















RAW MATERIALS 


137 


a part at a time, stirring constantly and continue the 
stirring for at least ten minutes after the oil has all been 
added. Then set aside over-night. The next morning 
pour off any surplus solution from the semi-hard soap 
which has formed. (This can be used over again.) Add 
one gallon of hot water and stir until taken up by the 
soap. While stirring add the Glycerine and half of the 
Eau de Cologne, previously mixed together. Finally, 
stir in the remainder of the Eau de Cologne. Now strain 
through several thicknesses of cheesecloth and set aside 
to clear. For perfuming add enough of one of the fol¬ 
lowing formulae to the last half of the Eau de Cologne 
before it is mixed with the other ingredients. 


PERFUMES FOR SOAP 

(1) Terpineol . 1 lb. 

Oil of Rose Geranium. 2 oz. 

(2) Tincture of Benzoin. 1 oz. 

Oil of Rose Geranium. 4 dr. 

(3) Oil of Lavender 

(4) Oil of Birch Tar 


SPECIAL LIQUID OLIVE OIL SOAP 


Best Olive Oil. 32 lbs. 

Caustic Potash. 8 “ 

Eau de Cologne . 2 “ 

Glycerine . 1 pint 

Water . 7 gals. 


Proceed the same as in the above formula. 


OLIVE OIL SUBSTITUTE 
HOT OIL TREATMENT 


Italian Olive Oil. 2 parts 

Russian Mineral Oil. 2 

Best Castor Oil. 1 “ 


Heat and mix the Olive Oil and Castor Oil; then add 
the Mineral Oil. Apply at a temperature of about 80° F. 














138 


PRACTICAL USE OF 


RUST STAIN REMOVER 

{For rust stains in white goods) 

Soak the cloth in a solution of Tin -Chloride and 
rinse immediately with much water. This chemical is 
much more reliable and quicker in its action than Oxalic 
Acid, unless the stains are soaked in a solution of the 
latter contained in a tin spoon, when they will quickly 
disappear. 


WINDOW POLISH 

Prepared Chalk.... 4 oz. av. 

Vienna Chalk__ 3 “ “ 

Fine Tripoli .. 2 “ “ 

Powdered Castile Soap__ 2 “ “ 

Water - 2 fl. oz. 


Dissolve the soap in the water over heat; then add 
the different powders, making a homogeneous mass and 
form into cakes. When using, apply this composition on 
a moistened cloth; then rub off with another cloth until 
dry and clean. 


NOTE 

As I have already said at the beginning of this sec¬ 
tion on formulas, I cannot in justice to myself and the 
publishers absolutely guarantee the formulae given on 
the preceding pages. Many of them I have used and am 
using to my entire satisfaction; others I have gathered 
together from various sources for the benefit of the pro¬ 
fession and they will at least furnish an interesting basis 
for your experiments. 

ANTIDOTES FOR POISONS 

Acetic Acid: Emetics, magnesia, chalk, soap, oil. 

Arsenic, Rat Poison, Paris Green : Milk, raw egg, 
sweet oil, lime water, flour and water. 

Carhotic Acid: Any soluble, non-poisonous sulphate 
after provoking vomiting with zinc sulphate; raw white 
of egg in abundance, milk of lime, saccharate of calcium, 
olive or castor oil with magnesia in suspension, ice, wash¬ 
ing the stomach with equal parts water and vinegar; give 
alcohol or whiskey or about four fluid ounces° of cam¬ 
phorated oil at one dose. 







RAW MATERIALS 


139 


Chloroform, Chloral, Ether : Dash cold water on the 
head and chest; use artificial respiration. 

Hydrochloric Acid: Magnesia, alkali carbonates, 
albumen, ice. 

Iodine: Emetics, stomach siphon, starchy foods in 
abundance, sodium thiosulphate. 

Lead Acetate: Emetics, stomach siphon, sodium 
potassium or magnesium sulphate, milk, albumen. 

Mercuric Chloride (Corrosive Sublimate) : Zinc 
sulphate, emetics, stomach siphon, white of eggs, milk, 
chalk, castor oil, table salt, reduced iron. 

Nitrate of Silver : Salt and water. 

Opium, Morphine, etc.: Strong coffee and hot baths; 
keep patient awake and moving at any cost. 

Sodium or Potassium Hydroxide (Caustic Soda or 
Potash ) : Vinegar, lemon juice, orange juice, oil, milk. 

Sidphuric Acid: Same as hydrochloric acid; also 
soap or oil. 

Sulphurous Acid or Sidphur Dioxide : Mustard 
plaster on chest, narcotics, expectorants. 

FIRST AID IN CASE OF ACCIDENTS 

Burns and Scalds : Exclude the air with a thin paste 
of starch, flour or baking soda. Ordinary oils, such as 
vaseline (petrolatum), olive or castor oil, lard or cream 
may be used. Lime water with an equal part of raw 
linseed oil makes an excellent dressing. A good compress 
is picric acid gauze. After any of these treatments, 
cover with cloth or cotton and hold in place with a light 
bandage. Another treatment is to cover with baking 
soda and lay wet cloths over it. Whites of eggs, olive 
oil and linseed oil are also good, either plain or mixed 
with chalk or whiting. Apply lint, cotton wool or waste 
soaked in oil or oil and lime water, and bind same on 
with a handkerchief. If necessary to remove clothing, 
cut along seams with a knife. 

Acid Burns: Wash off as quickly as possible with 
a large quantity of water. Water from a tap may be 
allowed to flow over the burns. While the injury is being 
washed, have procured lime water or lime water and raw 


140 


PRACTICAL USE OF 


linseed oil mixed together in equal proportions or a 
mixture of baking soda and water or soap suds and apply 
freely. Ammonia water is also good. For acid in the 
eye, wash as quickly as possible with water and then with 
lime water. 

Alkali ( Caustic) Burns: Wash with a large quan- 
tity of water as for acid burns. Neutralize with weak 
vinegar, hard cider or lemon juice. For lime or other 
strong alkali burns in the eye, wash with a weak solu¬ 
tion of vinegar or with olive oil or a saturated solution 
of boric acid. 

Fire in one’s clothing : Don’t run, especially not 
down-stairs or out of doors. Roll on the carpet or wrap 
up in a woolen rug or blanket. 

Fire in a Building : Crawl on the floor • the clearest 
air is always the lowest in the room. Cover the head with 
a woolen wrap, wet if possible. Don’t get excited. 

Fire in Kerosene: Don’t use water, it will spread 
the flames. Dirt, sand or flour are the best extinguishers, 
or smother with a woolen rug, carpet or table-cloth. 

Suffocation from Inhaling Burning Gas: Get into 
the fresh air as soon as possible and lie down. Keep 
warm; take ammonia (twenty drops to a tumbler of 
water) at frequent intervals. 

Bleeding: If blood spurts from wounds an artery 
is severed; bind the limb tightly above the wound with 
rubber tubing, strap, handkerchief or scarf or bend the 
limb forcibly at the next joint above the wound or press 
the flat of the hand or a stone where the blood is flowing. 
If the blood flows freely but does not spurt, a vein is 
severed; apply the same measures as for an artery but 
below the wound. If the scalp is wounded, make a pad 
of cloth or cotton waste and bind tightly over wound with 
a folded handkerchief. 

Flesh Wounds: Uncover wounds; wash well with 
clean water; wring out a clean handkerchief or some lint 
in cold water and lay over the wound. Then bind in 
position with a handkerchief. 

Fainting: From heat exhaustion or loss of blood. 
Place patient flat on back with head lower than feet; 


RAW MATERIALS 


141 


loosen clothing about neck; admit plenty of fresh air; 
dash cold water on face and chest; use smelling salts 
with care; give brandy or other stimulant when revived 
except in cases of sunstroke and where steps have not 
been taken to stop further bleeding. 

Insensibility : From blows or wounds on head. Send 
for a doctor at once or take the patient to a hospital, 
keeping him on his back with head raised; loosen clothing 
around the neck; do not give stimulants. 

Fits: (1) If snoring and face flushed, loosen cloth¬ 
ing around neck, keep head raised and dash cold water 
on head; apply hot water bottles to feet; send for doctor; 
do not give stimulants. (2) If foaming at the mouth and 
convulsed, undo clothing, apply smelling salts and pre¬ 
vent patient from hurting himself until conscious again. 


AT RANDOM 


SAVING THE WALL PAPER 

Even when pictures are placed where the sunlight 
does not strike them, the wall paper behind them often 
becomes discolored. This may be prevented by inserting 
glass or rubber push pins on the lower edge of the rear 
of the frame. This will cause the picture to stand out 
slightly from the wall and allow free circulation of air 
behind it, 

COUNTING DROPS 

Shake the bottle so as to moisten the cork; with the 
wet end of the cork moisten the edges of the mouth of 
the bottle ; then, holding the cork under the mouth, let 
the fluid pass over the cork in dropping and it will drip 
evenly. 

COLD WEATHER WINDOW CLEANING 

When cleaning windows in cold weather, add a des¬ 
sert spoonful of salt to the water. This will prevent 
freezing and cracking of the glass. 


142 


PRACTICAL USE OF 


CARE OF HANDS 

Housework, of course, is hard on the hands, espe¬ 
cially as it is practically impossible to wear gloves when 
washing dishes. You can, however, do housework and 
still have beautiful hands. Keep a piece of lemon over 
the sink and remove stains, roughness and redness at 
once. Don’t use strong preparations in the dishwater or 
have it too hot. Every night, or several times a day if 
possible, massage the hands with equal parts of glycerine 
and rose water, to which a little camphor has been added. 

CARE OF THE COMPLEXION 

Besides being a first aid to the hands, lemon will 
also work magic on the complexion. Instead of taking 
any chances with doubtful chemical bleaches, apply 
lemon juice mixed with an equal part of glycerine (and 
sometimes a little rose water) to whiten and soften the 
skin of the face, neck and arms. The juice of a lemon in 
a basin of water makes a cooling cleansing lotion for the 
face and hands, removes all appearance of oiliness and 
gives a feeling of freshness after exercise. 

REMOVING RUST 

Onions are excellent for removing rust. Rub the 
rusty article with onion and allow the juice to remain on 
for 24 hours. Polish with turpentine and you will find 
no trace of rust left. 

STIRRING SOAP 

In making soap use an egg-beater for stirring after 
it is all put together as it takes about half the time. 

BRASS POLISHING 

To polish brass first use the finest emery paper 
moistened with oil until the surface is even. Next rub 
with rotten stone and oil laid on a piece of soft leather 
and finish with dry whiting and a soft rag. Remember 
that every trace of oil must be removed before the brass 
can be lacquered. 


RAW MATERIALS 


THINKING 


BY AN UNKNOWN AUTHOR 


If yon think you are beaten, you are. 

If you think you dare not, you don’t. 
If you’d like to win but think you can’t, 
It’s almost a cinch you won’t. 

If you think you’ll lose, you’re lost; 

For out of the world we find 
Success begins with a fellow’s will, 

It’s all in the state of mind. 

If you think you’re outclassed, you are. 

We’ve got to think high to rise. 

You’ve got to be sure of yourself, before 
You can ever win a prize. 

Life’s battles don’t always go 
To the stronger or faster man; 

But soon or late the man who wins 
Is the man who thinks he can. 




144 


PRACTICAL USE OF 


PART THREE 

Index 


PAGE 

A 


Accelerator, Ozon . 74 

Accident, First Aid _ 13 8 

Acetic Acid . 43 

Acetone .:. 70 

Acid, Acetic . 43 

Benzoic . 44 

Boric . 45 

Carbolic . 45 

Citric . 45 

Gallic . 37 

Oxalic . 46, 71 

Pyrogallic . 37, 117 

Salicylic . 4 7 

Stearinic . 69 

Tannic . 38 

Vinegar . 43 

Adcps Lanae . 67 

Aid, First—Accident . 138 

Alcannine . 3 5 

Alcohol, Hair . 114 

Alcohol, Soluble Colo s . 36 

AllOxane, Rouge . 103 

Allspice, Oil of . 53 

Almond Cream . ..79, 127 

Essence . 56 

Lotion . 79 

Meal . 63 

Oil, Bitter . 52 

Oil, Sweet . 60, 63 

Pack . 87 

Pastes . 86, 87 

Alum Powder . 70 

Amber Coloring . 35, 36 

Amino-Phenol, Ortho . 39 

Amino-Phenol, Para . 40 

Ammonia, Aqua . 41 

Ammonia, Water . 41 

Ammonium Chloride ..... . 44 

Muriate . 44 

Sulphate . 4 4 

Amyl Acetate . 71 

Aniline Black . 39 

Brown . 39 

Colors .—. 38 

Dyes . 38 

Antidotes for Poisons..138 

Aqua Ammonia . 41 

Arrow Root Powder.. 64 

Astringent Rinse . 26 

Auburn Henna . 16 

Rinse . 24 


PAGE 

B 


Balsam Peru . 58 

Banana Oil . 71 

Bandoline . 109 

Bark, Soap . 4 8 

Base, Make-Up . 103 

Ointment, U.S.P . 13 2 

Pomade, Hair . 104, 130 

Soap . 10 

Bay, Oil of . 53 

Rum . 41 

Rum Essence . 5 6 

Beauty Lotion . 86 

Beauty Milk, Oriental .101 

Beeswax, White — Yellow . 64 

Benzoate of Soda . 48 

Benzoic Acid . 44 

Benzoin, Tincture . 49 

Bergamot, Oil . 53 

Betanaphthol . 64 

Bicarbonate of Potash . 46 

Bicarbonate of Soda . 48 

Bichloride, Mercury . 56 

Birch Tar Oil . 53 

Bismarck Brown . 39 

Bismuth Hair Dye . 119 

Black, Aniline . 39 

Color ... , . 36 

Hair Dye . 118, 120 

Henna . 17 

Jet . 20 

Make-Up . 103 

Marking Ink .135 

Blackenna . 17 

Blanc de Neige . 101 

des Perles .100 

Bleach, General . 27 

Hair . 27, 121 

Nail . 78 

Pack . 20 

Blond Rinse . 22 

Blue-Black, Aniline . 39 

Blue Coloring . 36 

Blueing, Hair . 32 

Bois de Rose, Oil of . 53 

Boracic Acid . 45 

Borate, Soda . 44 

Borax . 44 

Bordeaux Make-Up . 103 

Boric Acid . 45 

Bor-Lanolin-Milk-Emulsion . 90 

Bouquet, Oil of . 56 








































































































RAW MATERIALS 


145 


PAGE 

Brass Polishing .142 

Brilliantine .108 

Lemon .109 

Oil. 42 

Ozon . 7 4 

Solid.127 

Brown, Aniline . 39 

Bismarck ....;.. 39 

Coloring .. 3 6 

Dark, Pack . 17 

C 

Cade, Oil of. 53 

Campechu . 3 4 

Camphor Cold Cream .88, 132 

Gum . 64 

Ice-Cream . 89 

Oil . 54 

Cantharides, Tincture . 50 

Capsicum, Tincture . 50 

Carbolic Acid. 45 

Carbonate, Magnesia . 45 

Carbonate, Potash . 46 

Care of Complexion .142 

Care of Hands .142 

Carmine . 35 

Carnation, Oil of . 56 

Castile, Coco . 10 

Castile, Soap . 8 

Castor Oil . 58 

Catechu .- 33 

Caustic Potash . 72 

Celluloid Ink ..134 

Chalk, Precipitated . 65 

Chamomile Flowers . 22 

Hair Tonic ...129 

Rinse . 22 

Shampoo .129 

Tea . 22 

Chestnut Brown Pack . 17 

Chilblain Remedy . 87 

China Clay .-. 66 

China Hair Pomade .106 

Chloride, Ammonia . 44 

Chloride, Copper . 36 

Chlorophyll . 35 

Citric Acid . 45 

Clay Pack . .78' 

Cleaning Windows .. 141 

Coal-Tar Dye .A.120 

Cobalt Nitrate . 37 

Cochineal ..- 35 

Cocoa Butter . 65 

Cocoanut Base Soap . 10 

Oil . 59 

Soap . 10 

Coco-Castile Soap, Siscony. 10 

Cold Cream .125, 130 

Camphor .88, 132 

Cucumber . 89 

Glycerine .89, 132 

Ozon . 79 

Rose . 89 

Salicyl .132 

Vaseline .-132 

Violet .—89 


PAGE 

Collodion . 7l 

Collodion, Corn .129 

Color, Alcohol Soluble . 36 

Hair, Darkener .120 

Oil Soluble . 36 

Perfumers’ 36 

Restorer, Hair .120 

Soap . 36 

Water Soluble . 36 

Complexion, Care of.142 

Copper Chloride . 36 

Nitrate . 36 

Oxide . 37 

Sulphate . 37 

Copperas . 37 

Com Remover, Liquid . 71 

Corn Collodion .129 

Corrosive Sublimate . 56 

Cosmoline . 61 

Cotton, Soluble . 71 

Counting Drops .141 

Cream, Almond .79, 126 

Camphor Cold .88, 132 

Camphor Ice . 89 

Cold .79, 125 

Cucumber .89, 126 

Egg Shampoo . - .112 

Face .90 

Furniture Polish .134 

General . 87 

Glycerine—Cold 89, 91, 132 
Glycerine—Lanolin .... 88 , 91 

Greaseless .125 

Lanolin .90, 91, 130 

Lemon .79, 91 

Massage .79, 125 

Ozon . 79 

Perfume for .123 

Red Nose . 92 

Rose .89, 90, 126 

Salicylic—Cold .132 

Shampoo .112 

Vanishing .79, 126 

Vaseline—Cold .132 

Violet . 89 

Crude Oil . 59 

Creme Cydonia . 108 

Cucumber Cold Cream . 89 

Cream .126 

Pomade .107 

Rose Cream .126 

Cudbear . 35 

Cupric Chloride . 36 

Nitrate . 36 

Oxide . 37 

Sulphate . 37 

Curcuma Powder . 35 

Curling Fluid, Hair .110 

Curling Fluid, Ozon . 77 

Cutch . 3 3 

Cydonia, Creme .108 


D 

Dandruff Lotion . HI 

Dandruff Ointment . 93 

Dark Hair Rinse . 24 

































































































































146 


PRACTICAL USE OP 


PAGE 

Park Rachel Powder . 99 

Parkener, Hair Color . 120 

Deodorant, Feet . 96 

Powder . 96 

Salicyl—Rose . 96 

Pepilatory . 65, 121 

Depilatory Paste . 133 

Developer, Ozon French... 75 

Disinfectant, Odorless . 13 4 

Drab Tint, Sattler’s .- 80 

Props, Counting . 141 

Pry Shampoo . 134 

Dyes, . 33 

Aniline . 3 8 

Black, Liquid .120 

Chemical . 36 

Coal Tar . .120 

Hair . 13, 116, 118 

Bismuth . 118 

Dead . 121 

False . 33, 34 

Manganese . 118 

One-Application . .118 

Pomade . 119 

Remover . 120 

Silver Nitrate . 119 

Two-Application 118, 133 
Natural . 33 


E 


Eau de Lys . 85 

Eau de Quinine . 114 

Effervescent Powder . 124 

Egg Shampoo Cream .112 

Egyptian Henna ... 15, 24 

Emulsion, Bor-Lanolin-Milk . 90 

Eosine . 35 

Epsom Salt . 65 

Essence Almond . 56 

Bay Rum . 56 

Hair Growing . 115 

Lemon . 26, 5 6 

Rose . 56 

Vanilla . 56 

Essential Oils . 51 

Ether .,. 71 

Eucalyptus, Oil of . 54 

Exterminator, Vermin . . . 135 

Extract, Walnut . 117 

Extract, Walnut Shell .117 


F 


Face Cream . 90 

Lotion . ... 85 

Pack Preparer . 79 

Powder ..... 9 7 

Powder Ozon . 80 

Family Hair Pomade . 107 

Fat P’owder . 96 

Feet Deodorant . 96 

Ferrous Sulphate . 37 


PAGE 

Fettpuder . 96 

First Aid, Accidents . 139 

Flesh Make-Up . 103 

Floral Oils .•. . 56 

Flowers Sulphur . 62 

Food, Skin . 125 

Formaldehyde . . .• 41 

Formalin . 41 

Formulae .,..... 83 

Hair Packs . Is 

Para-Phenylene-Diamine 39 

Freckle Lotion .... 85 

Freckle Water . 85 

French Developer, Ozon _ 75 

Eau de Quinine . 114 

Powder . 97 

Frost Bite Remedy . 87 

Fuller’s Earth . 66 

Furniture Polish, Cream. . 134 


G 


Gallic Acid . 37 

Geranium, Oil of . 54 

German Chamomile . 22 

Glass Polish . 136 

Glauber’s Salt . 49 

Glue, Label . 124 

Glycerine . 45 

Cold Cream . 89, 132 

Cream . 91 

Honey Jellv .. 92 

Jelly . ! . 92 

Lanolin-Cream . 88 

Oil Jelly . 92 

Golden Hair Lotion, Ozon . 74 

Greaseless Cream .90, 125 

Green Cast Remover, Sattler’s... . 81 

Coloring .35, 36 

Olive Soap . 10 

Soap . 10 

Growers, Hair . .. .113, 115 

Growers, Hair Tonic . 133 

Gum Camphor . 64 

Gum Tragacanth . 66 


H 


Hair Alcohol . 114 

Bleaches .. 27, 121 

Blueing . 32 

Color Darkener . 120 

Color Restorer . . 120 

Coloring Packs . 13 

Coloring Rinses . 22 

Curling Fluid . 110 

Dead, Dyeing of . ...121 

Dye .' .116 

Bismuth . 119 

Black . . 118, 120 

Coal Tar . 120 

Formula .. 39 

Manganese - . 118 

One Application . 118 






















































































































RAW MATERIALS 


147 


PAGE 


Hair Dye, Pomade . 119 

Remover . -120 

Silver Nitrate .119 

Two-Application ....118, 133 

Dyeing -. 13, 36 

Grower . 113 

Grower Tonic . 133 

Growing Essence, Pomade, 

Oil . 115 

Lotion . 113, 115 

Golden Hair, Ozon. 7 4 

Laurel . ——112 

Quinine . 114 

Rosemary . Ill 

Oils . 198 

Pomade Base . 10 4, 130 

China . 106 

Extrafine . .106 

Falling . 106 

Family . ...107 

Ordinary . 105 

Powder . 134 

Sattler’s Whitener . ..... —- 81 

Straightener - 133 

Tonic . HO 

Tonic Chamomile .139 

Whitener . — 31, 81, 128 


Hamamelis .— 

Hands, care of . 

Heliotrope Oil . 

Heliotrope Pomade 

Hematine . 

Henna, Black . 


Egyptian . 15, 24 

Leaves, Powdered . 15 

Leaves, Whole . 15 

Red . 15, 16 

Rinse . 24, 77 

Shampoo, Liquid .129 

Ozon . 75 

Powder . 128 

“SIS” . 16 

Titian . 15, 24 

White . 20 

White, Ozon . 73 

Honey Glycerine Jelly . 92 

Odor . 123 

Water .. 86 

Honeysuckle, Oil of . 56 

Hot Oil Treatments .137 

Household Soap Formula . 9 4 

Hydrogen Peroxide .. 28 

Hvdroxide, Potassium . 72 

Hypo . 


I 


Ice, Camphor Cream . 89 

Ice, Pomade . 106 

Indigo Leaves .. 19 

Madras . 33 

Persian . 19 

Ink, Celluloid . 134 

Ink, Black Marking . 135 

Ink, Show Card . 135 


PAGE 


Iodine, Decolorized . 51 

Tincture . 50 

White . 51 

Iron Sulphate .. 3 7 

J 

Jasmine, Oil of . 56 

Jelly, Glycerine . 92 

Jelly, Honey Glycerine . 92 

K 

Kaloderma . 92 

Kaolin . 66 


L 


Labels, Lacquer, Window . 124 

Mucilage .. 124 

Tin Glue . 124 

Lacquer, Window Label .124 

Lanolin . 67 

Bor-Milk-Emulsion . 90 

Cream . 90, 91, 130 

Glycerine Cream . 88, 91 

Lemon Cream . 91 

Pomade . 107 

Powder . 96 

Skin Pomade . 91 

Larkspur, Tincture . . 51 

Laurel Hair Lotion .112 

Lavender Coloring . 36 

Lavender, Oil of . 54 

Lemon Brilliantine . . 109 

Cream, Ozon . 79 

Essence . 26, 5 6 

Glycerine-Lanolin Cream.. 91 

Oil of . 54 

Rinse . 26 

Library' Paste . 136 

Lilac Coloring . 36 

Lilac, Oil of . 56 

Lily, Oil of . 56 

Liniment, Soap . 10 

Lip Stick . 93 

Liquid Shampoo . 112 

Shampoo Vegetable .112 

Soap . 136 

Soap Olive . 137 

Liver Spot Ointment . 93 

Liver Sulphur . 4 7 

Logwood Powder-Extract . 3 4 

Lotion, Beaut.v . 86 

Dandruff . Ill 

Face . 85 

Freckle . 85 

Golden Hair, Ozon . 74 

Hair . 113, 115 

Laurel Hair . 112 

Permanent Waving ....128 

Quinine . 114 

Rosemary Hair . Ill 

Skin . 84, 85 

Washing . 84 

Lunar Caustic .-. 38 

























































































































148 


PRACTICAL USE OF 


PAGE 

M 


Mag-n esia . 45 

Magnesium Carbonate . 45 

Magnesium Sulphate . 65 

Make-Up Base . 103 

Black . 103 

Bordeaux . 103 

Flesh . 103 

Greasy . 101 

Pencils . 103 

Pink . 102 

Powder . 98, 99 

Red . 99, 102 

Rouge . 100 

Sticks .103 

Tablets . 100 

Theatrical .103, 101 

White . 102 

White Liquid . 101 

Manganese Hair Dye . 118 

Marking Ink . 135 

Massage Cream . 125 

Massage Cream, Ozon .- 79 

Measures .... 83 

Medicated Soaps ... 95 

Menthol . 67 

Mercuric Chloride . 56 

Mercury Bichloride . 56 

Methyl Violet ... 32 

Milk, Bor-Lanolin Emulsion . 90 

Milk, Oriental Beauty . -101 

Mineral Fat . 61 

Mineral Oil .. 42 

Mirror Polish . 136 

Mosquito Chaser . 135 

Mucilage, Label, etc . 124 

Mud Pack . 128 

Mud Pack, Ozon . 78 


N 

Nail Bleach, Ozon . 78 

Nail Polish Powder . .124 

Natural Dyes .. 33 

Neroli, Oil of . 54 

Neutral Soap . 9 

Nickel Nitrate . 37 

Nigrosin(e) . 39 

Nitrate of Cobalt . 37 

Copper . 36 

Nickel .. 3 7 

Silver . 3 8 

Soda .. 48 

Nose, Cream for red. 92 

Nutgalls Powder . 17 


O 

Ochre . 67 

Odor, Rose, Pine, Honey . 123 

Odorless Disinfectant . 134 

Oil of Allspice . 53 

Almond Bitter . 52 

Almond, Sweet .60, 63 

Banana . 71 

Bay . 53 


PAGE 


Oil of Bergamot .. 53 

Birch Tar . 53 

Bois de Rose . 53 

Cade .*. 53 

Camphor . 54 

Castor .------. 58 

Cocoanut .. 59 

Crude . 59 

Essential . 51 

Eucalyptus . 54 

Fir Wood . 55 

Floral . 56 

Geranium . 54 

Hair . 108 

Hair Growing .. 115 

Hot Treatments . 137 

Lavender .-. 54 

Lemon .. 54 

Mineral .-. 42 

Neroli . 64 

Olive . 60 

Olive Substitute .137 

Orange Flowers . 54 

Perfume . .123 

Petit Grain . 55 

Pine Needle . 55 

Pomade Perfume . .123 

Rose . 55 

Rose Geranium . 54 

Rosemary . 55 

Sage .-. 55 

Sandalwood . 55 

Soluble Colors . 36 

Tar . 53 

Treatments . 137 

Ylang Ylang . 55 

Ointment Base U. S. P. .132 

Liver Spot . 93 

Sulphur . 61 

Sulphur, U. S. P. 133 

Tar . 61 

Tar, U. S. P.132 

White . 130 

Zinc . 61 

Ordinary . 132 

Prof. Lassar .130 

U. S. P.133 

Sulphur . ...130 

Olive Oil . 60 

Substitute .137 

Soap, Liquid . 137 

Soap Green .. 10 

Orange Coloring . 35, 36 

Flower Oil .. 54 

Flower Water . 67 

Oriental Beauty Milk .101 

Oil ..-... 56 

Pomade . 90 

Orris Root Powder . 61 

Ortho-Amino-Phenol . 39 

Oxalic Acid . 46, 71 

Oxide, Copper . .!..., 37 

Zinc . 69 

Ozon Accelerator . 74 

Almond Cream, Lotion .79 

Brilliantine . 74 

Clay Pack . 78 

Cold Cream . 79 

































































































































RAW MATERIALS 


149 


PAGE 

Ozon Curling Fluid . 77 

Developer, French .. . 75 

Face Powder . 80 

Golden Hair Lotion . 7 4 

Henna Rinse . 77 

Henna Shampoo . 75 

Lemon Cream . 79 

Massage Cream . 79 

Mud Pack . 78 

Nail Bleach . 78 

Talcum Powder . 80 

Vanishing Cream . 79 

Water Softener . 76 

White Henna . 73 


P 

Pack, Almond . 87 ./ 

Black .17, 20 

Bleach. 20 

Brown . 18 

Chestnut Brown .. 18 

Clay .128 

Dark Brown . 18 

Hair Coloring. 13 

Mud .-.128 

Para-Amido-Phenol . 40 

Diamido-Benzol . 40 

Phenylene-Diamine . 39 

Paraffine . 68 

Paste, Almond .86, 87 

Depilatory .133 

Library . 136 

Peach, Oil of . 56 

Pearl White, Liquid .100 

Pearl White, Powder . 97 

Pencils, Make-Up .103 

Perborate Soda . 49 

Perborax, Perborin . 49 

Perfume .122 

Pomade .123 

Soap .137 

Permanent Waving Lotion.128 

Permanganate of Potash.... 31 

Peroxide of Hydrogen . 28 

Peru Balsam . 58 

Petit Grain, Oil of. 55 

Petrolatum . 61 

Petroleum Jelly . 61 

Phenol . 4 5 

Philocome Pomade .107 

Pilocarpine Hydrochloride . 62 

Pine Needle Oil . 55 

Odor .123 

Pink Coloring . 35, 36 

Make-Up .102 

Powder . 99 

Poison, Antidotes .138 

Polish, Brass . 142 

Furniture Cream .134 

Mirror, Glass, Silver.136 

Nail, Powder .124 

Window . 138 

Pomade Base, Hair .104, 130 

China Hair .106 

Cucumber . 107 

De Beaute .90 

Extrafine Hair .106 


PAGE 

Pomade Falling Hair .106 

Family .107 

Hair . 105, 107 

Hair Dye .119 

Hair Growing .115 

Heliotrope . 107 

Ice .106 

Lanolin . 107 

Oriental . 90 

Perfume . 123 

Philocome . 107 

Rose .106 

Skin . 91 

Potash . 46 

Caustic . 72 

Permanganate of ...'. . 31 

Potassium Bicarbonate . 46 

Carbonate . 46 

Hydroxide . 72 

Permanganate . 31 

Sulphate. 46 

Sulphide . 47 

Poudre de Marechal . 98 

Poudre de Riz . 97 

Powder . 95 

Dark Rachel . 99 

Deodorant . 9 6 

Effervescent .124 

Face . 80, 97 

Fat . 96 

French White . 97 

Hair .134 

Henna Shampoo .128 

Lanolin . 96 

Make-Up .98, 99 

Nail Polish . 124 

Pearl White . 97 

Pink . 99 

Rachel . 99 

Rice . 97 

Talcum . 80 

Talcum Salicylic .129 

Violet . 98 

White . 98 

Precipitated Chalk . 65 

Pumice Stone . 72 

Pyrogallic Acid .37, 117 

Pyrogallol . 37 

Q 

Quillaya . 48 

Quince Seed . 62 

Quinine, Eau de .114 

Hair Lotion .114 

Scalp Stimulator . 114 

Sulphate . 61 

R 

Rachel, Dark Powder .. 99 

Rachel Powder . 99 

Red Coloring . 35, 36 

Henna . 15 

Henna SIS . 16 

Make-Up . 99, 102 

Nose Cream . 92 
































































































































150 


PRACTICAL USE OF 


PAGE 

Remover, Green Cast . 81 

Hair Dye . 120 

Rust . 142 

Rust Stain . . 138 

Resorcin (ol) . 3 7 

Restorer, Hair Color . 120 

Restorina, Sattler’s . 82 

Rice Powder . 9 7 

Rice Starch . 68 

Ricinus Oil . 58 

Rinse, Astringent . 26 

Chamomile . 22 

Dark Hair . 24 

Hair . 9 . 9 . 

Henna . 24 

Henna, Ozon . 77 

Lemon . 26 

Sage . 24 

Titian . . 24 

Rose Cold Cream . 89 

Cucumber Cream . 126 

Essence .. 56 

Odor . 123 

Oil of . 54, 55, 56 

Pomade . 106 

Water ...,. 68 

Rosemary Hair Lotion . Ill 

Rosemary, Oil of . 55 

Rouge Alloxane . 103 

En Passes . 100 

Make-Up Tablets .. 100 

Paste . 99 

Vegetal . 100 

Vegetal, Liquide . ...101 

Rust Remover . 142 

Rust Stain Remover . 138 


S 


Saffron . 35 

Sage Leaves .. 24 

Oil of . 55 

Rinse . 24 

Tea . 24 

Tea Shampoo . 129 

Sal Ammoniac . 44 

Salicyl Cold Cream . 132 

Salicyl Rose Deodorant . 96 

Salicylic Acid . 4 7 

Salicylic Talcum Powder . 129 

Sal Soda . 47 

Salts, Bath . 65 

Epsom . . 65 

Smelling . 122 

Tartar . 46 

Sandalwood, Oil of . 55 

Saponin . 47 

Sasoline . 61 

Sattler’s Drab Tint . . . 80 

Green Cast Remover . 81 

Hair Whitener . 81 

Restorina . 82 

Scalp Ointment . 93 

Scalp Stimulator . 114 

Shampoo Base ... .:. 10 

Chamomile . 129 


PAGE 

Shampoo Cream . 112 

Dry . ....134 

Egg . 112 

Henna . 75, 129 

Liquid . 112 

Ozon, Powder . 75 

Powder, Henna . 128 

Sage Tea . 129 

Soap . 7, 10 

Vegetable . 112 

Water, Vegetable . 112 

Silver Nitrate . 38 

Silver Nitrate Hair Dye .119 

Silver Polish . 136 

SIS Henna . 16 

Siscony Coco-Castile . 10 

Skin Pood . 125 

Lotion . 84, 85 

Pomade . 91 

Smelling Salts . .122 

Snow White, Liquid . . 101 

Soap Bark . 48 

Bases . 10 

Castile . 8 

Cocoanut . 10 

Coco'-Castile . 10 

Green . 10 

Household, Formula . 9 4 

Liniment . 10 

Liquid . 136 

Making .. . 9 4 

Medicated . 95 

Neutral . 9 

Olive .. 10 

Olive, Liquid .137 

Perfume . 137 

Shampoo . 7, 10 

Solution .136 

Stirring . 142 

Tar . 10 

Tincture . 10 

Sodium Benzoate . 48 

Biborate . 44 

Bicarbonate . 48 

Borate . 44 

Carbonate . 47 

Hyposulphite . 48 

Nitrate . 48 

Perborate . 49 

Sulphate .. 49 

Sulphite . 31, 49 

Thiosulphate . 48 

Softener, AVater . 76 

Solid Brilliantine . 127 

Soluble Cotton . 71 

Solution, Soap .136 

Spermaceti Wax . 69 

Stain Remover, Rust . 138 

Starch, Rice . 68 

Starch, AVheat . 69 

Stearate, Zinc . 70 

Stearic Acid (Stearine) . 69 

Sticks, Lip . 93 

Sticks, Make-Up . .103 

Stimulator, Scalp . . 114 

Stirring Soap . 142 

Straightener, Hair . A33 





































































































































RAW MATERIALS 

151 


PAGE 


PAGE 

Ammonia ... 

. 44 

Vegetal, Rouge . 

.100 

Copper . 

. 37 

Vegetal, Rouge, Liquide .... 

... .101 

Iron . 

. 37 

Vermin Exterminator .. 

. .135 

Potash . 

. 46 

Vinegar Acid . 

. 43 

Quinine . 

. 61 

Violet Cold Cream . 

. 89 

Soda . 

. 49 

Coloring . 

.... 35, 36 

Potash . 

. 47 

Methvl . 

. 32 

Soda .. 

.31, 49 

Oil of ... 

. 56 

vers . 

. 62 

Powder .. 

. 98 


Liver ....... 47 

Ointment . 61, 98 

Ointment U. S. P...133 

Zinc Ointment . 130 

Sumac Leaves Powder . 17 

Sweet Oil .— 60 


T 

Tablets, Mercury .. . 

. 56 

Tablets, Rouge . 

..100 

Talc—Talcum . 

. 69 

Talcum Powder .. 

. 80 

Talcum Powder, Salicylic . 

.129 

Tannic Acid (Tannin) . 

. 38 

Tar Oil .... 

. 53 

Ointment ..... 

61, 132 * 

Soap .... 

. 10 

Theatrical Make-Up, Creasy 

. 101 

Pencils 

. 103 

Thinking . 

_143 

Thymol . 

. 62 

Tincture of Benzoin . 

. 49 

Cantharides _ 

. 50 

Capsicum . 

. 50 . 

Green Soap . 

.. U) 

Iodine .. 

. 50 1 

Iodine, White. 

. 51 

Larkspur .. 

. 51 

Tint, Sattler’s Drab. 

. 80 

Tissue Builder .. 

. 89 

Titian Henna ... 

. 15 

Titian Rinse . 

. 24 

Tonics, Hair . 

...110 

Chamomile ... 

.129 

Hair Grower . 

..133 

Tragacanth ... 

. 66 

Tuberose, Oil of .. 

. 5 6 

Turmeric . 

. 35 

U 

“U. S. P.,” Definition . 

. 10 

V 

Vanilla, Essence of . 

. 56 

Vanishing Cream . 

.126 

Vanishing Cream, Ozon . 

. 79 

Vaseline ..... 

. 61 

Vaseline Cold Cream . 

. 132 

Vegetable, Liquid Shampoo . 

. 112 

Packs ... 

.. 13 

Shampoo, Liquid 

.112 


W 

Wall Paper, Saving- . 141 

Walnut Extract . 117 

Walnut Powder .:. 17 

Wart Liquid . 93 

Washing Lotion . S3 

Washing Soda . 4 7 

Water, Ammonia . 41 

Freckle . 85 

Honey . 86 

Orange Flower . 67 

Rose . <T8 

Shampooing . . .112 

Softener, Ozon . 76 

Soluble Colors . 36 

^Waving Lotion, Permanent . 128 

Wax, Bees’ . 64 

Paraffine . 68 

Spermaceti . 69 

White . 64 

Weights . 83 

Wheat Starch . 69 

White Face Powder . . 97 

Henna . 20 

Henna, Ozon . 73 

Liquid Pearl . 100 

Make-Up . 101, 102 

Ointment . 130 

Powder . 9 7 

Rose Oil . 56 

Snow, Liquid . 101 

Wax . 64 

Whitener, Hair . 31, 128 

Whitener, Hair, Sattler’s . 81 

Window Label Lacquer . 124 

Cleaning . 141 

Polish . 138 

Witch Hazel . 43 


Yellow Coloring . 35, 36 

Ylang Ylang, Oil of . 55 


Zinc Ointment . 61 

Ordinary . 132 

Prof. Lassar . 130 

U. S. P.133 

Oxide . 69 

Stearate . 7 0 

-Sulphur Ointment . 130 

White . 69 


PRESS OF STETTINER BROS., NEW YORK 









































































































































































































































